BEAST Starring: Idris Elba, Sharlto Copley, Iyana Halley, Leah Jeffries Director: Baltasar Kormákur QUENTIN With a movie like Beast , one doesn’t expect much. As long as it delivers decent thrills, solid tension, and Idris Elba punching a lion in the face, it has done its job. On that front, Beast certainly succeeds. Sure, the dialogue can be groan-worthy, and the angry daughter trope is a bit forced (and wholly unnecessary), but with several well-done tracking shots and a picturesque South African landscape, the direction and cinematography are better than they need to be for a movie like this. Plus, you get Idris Elba literally punching a lion during a climax that is unexpectedly visceral. Overall, a pleasant surprise. JACOB Despite solid visual effects and some impressive long shots, I found myself underwhelmed by Beast , even as a lean creature feature with some genuinely tense sequences. It’s not as though the film lacks quality where it counts – Idris Elba is very good, as is Sharlto Copley – but the way it’s set up positions our protagonists merely as collateral damage in a just war against true villainy. So, as much fun as it is watching Idris Elba punch a lion in the face, the lion is ultimately who you root for, and some truly bad expository dialogue brings the film down substantially.

KILL BILL: THE WHOLE BLOODY AFFAIR Starring: Uma Thurman, Lucy Liu, Vivica A. Fox, Michael Madsen, Daryl Hannah, David Carradine, Julie Dreyfus, and Sonny Chiba Director: Quentin Tarantino NICK Although I'm a big fan of director Quentin Tarantino, Kill Bill Vols. 1 & 2 have never been among my favourites. The Whole Bloody Affair doesn't change that. Although I do think condensing everything into one film actually improves the pacing, the new aspects don't feel necessary (or substantial). Even the trademark Tarantino violence doesn't hit as well when matched up against his later films or even things like the John Wick franchise. If you liked this as a two-parter, you’ll like it as a singular entity; if you’re looking for something new, don’t expect The Whole Bloody Affair to offer much. PAIGE To see Kill Bill: The Whole Bloody Affair on the big screen is a true cinematic event because this is how the film was meant to be seen. Fusing Vols. 1 & 2 into a single feature allows for the Bride’s (Uma Thurman) revenge saga to flow better while making for a more cohesive character arc. Although the new anime sequence and Fortnite chapter aren’t really necessary, the extended scenes and colorization of originally black-and-white sequences enhance the action and violence to make this feature even more badass than it already was. Ultimately, there’s no better way to experience Quentin Tarantino’s epic. ADRIANO What do I say about Kill Bill: The Whole Bloody Affair that film lovers haven't said for the past two decades? If you love Quentin Tarantino's chaotic, maximalist revenge films, this is obviously a treat. As someone who adores Vol. 1 as a classic but finds Vol. 2 just solid, it was a joy seeing them as a complete package, unashamed of the weirdness to the degree that they extended the anime sequence. It even helped fill some holes for Vol. 2 . This is a cinephile and Kill Bill fan's dream right here, and watch it on 70mm if possible.

LISA FRANKENSTEIN Starring: Kathryn Newton, Cole Sprouse, Liza Soberano, Carla Gugino, Joe Chrest, and Henry Eikenberry Director: Zelda Williams PRESTON Lisa Frankenstein is like a necrophiliac mashup of Encino Man and Hocus Pocus , with Tim Burton-esque potential and an appropriate tone, but none of the charm. Maybe I am a generation removed from the target audience, but why is apathy somehow a complete substitute for humor?! The main characters end up being assholes who I couldn’t care less about, and the only good news is that you get to enjoy the first 30 minutes in a state of ignorance about its unworthiness. That’s like 30ish percent of the total runtime, so this seems like an appropriate rating… PAIGE Despite its messiness, Lisa Frankenstein is an absurdist horror comedy that is a freakin’ delight. The film occasionally falters with the basics of its own structure, but Diablo Cody's killer, zinger-filled script keeps it afloat. Kathryn Newton plays the unhinged Lisa Swallows perfectly, and there's no denying the chemistry between her and Cole Sprouse. Overall, the movie is a bloody good time, and is an entertaining experience from beginning to end. This gothic teen drama is so nostalgic for the 80s that I can't help but think it will become a cult classic. ADRIANO Lisa Frankenstein has tremendous cult film potential, but I did not find much enjoyment in this movie. I laughed a bit towards the end, but director Zelda Williams ultimately couldn't balance the tone between dark and endearing. The script progresses at an unnatural pace too. On the flip of a dime, the protagonist is a completely different person with not much reason to root for her. Cole Sprouse shows off some great physical comedy, but it's now clear to me that Kathryn Newton can't act. I won't take away the fun others will have, but I just didn't have fun myself. CALEB It brings me no joy criticizing Lisa Frankenstein , but Zelda Williams' directorial debut is a total misfire. I appreciated the campy aesthetic, and certain sequences look great; however, the energetic visuals only ever lend the film the illusion of fun since the actual script is so boring . The characters are inconsistent and unlikable, the plot is bone thin, and the “jokes” primarily consist of tired 80s references. Maybe with a charismatic lead this could’ve been salvageable, but Kathryn Newton’s floaty performance doesn’t do the material any favours. I was hoping for a good time, but Lisa Frankenstein never really comes to life.

FIVE NIGHTS AT FREDDY'S Starring: Josh Hutcherson, Elizabeth Lail, Piper Rubio, Mary Stuart Masterson, and Matthew Lillard Director: Emma Tammi PAIGE Holy moly is Five Nights at Freddy’s HORRENDOUS. It’s narratively pushed by a half-assed storyline about childhood trauma that it never fully commits to, and it seems to debate with itself as to whether it wants to be taken somewhat seriously as a “horror” film or go all-in on the campiness of everything. It’s a shame, too, because, honestly, somewhere in there is a good movie, but with such a tame and muddled script littered with tonal inconsistencies and story issues, it prevents it from being anything close to enjoyable. So, I’ll leave it at this…Five Nights At Freddy's is four nights too many. ADRIANO Five Nights at Freddy's is for fans of the game and nobody else. Everyone else must suffer through a dull, tension-less horror film that baffles at every turn. The film's reliance on fan service is shameless, and fans will argue that the bizarre plotting and backstory are all "the lore," but as a non-fan, I couldn't make sense of it. And that's before even mentioning the horrific editing and one of the craziest tonal shifts I can remember. Nothing even really happens for four of the five nights. If you like the games, have fun. Everyone else, steer clear. CALEB On paper, a horror movie about murderous Chuck-E-Cheese-style animatronics is a fun idea, but Five Nights at Freddy’s is held back by its own source material. Too much of the runtime is spent exploring lore from the video game, and it takes time away from the fun robots. Admittedly, they don’t actually look that great, but whenever they’re on screen, the movie is at least somewhat entertaining. If the droves of screeching 14-year-olds in my theater were any indication, I’d bet this one gets a sequel, so next time, let’s have more focus on the killer animatronics and less on Nebraska. KATIE Five Nights at Freddy’s completely lacked any bite. It should have been fun, cheesy, excessive, and gory. Instead, it was bland, boring, and failed to commit to the horror element of the source material, suffering as a result. As someone who is unfamiliar with the video games, the barrage of references were lost on me, and I was left pointlessly waiting for something, anything, interesting to happen. The film’s focus on the ‘lore’ of the games isolates anyone who isn't in the know, and consequently is full of confusing tonal shifts, tedious plotting, and unconvincing performances. PHILL Five Nights at Freddy’s is convoluted and overlong (despite only running at 110 minutes), and it’s truly scary how boring it is. It’s a mighty achievement for Blumhouse to take such a basic concept and fumble it as much as they have. Hindered by its lack of an R-rating, Five Nights at Freddy’s is too tame and timid, promising a payoff that never truly arrives in any remotely satisfying way. Given a lower budget and a grittier/gorier atmosphere, this film could have been something worthwhile. Instead, it relies solely on jump scares that don't even raise a heartbeat.

RELAY Starring: Riz Ahmed, Lily James, and Sam Worthington Director: David Mackenzie NICK Relay feels straight out of the 90s. Like, I can picture reruns of this film playing on TBS growing up. That's not a knock, either. The movie is specifically meant as an homage, so it succeeds on that front. It's the required intensity that is absent. That's not Riz Ahmed’s or Lily James’ fault, both of whom provide solid performances and great chemistry. It's the pacing and overall feel of the film; it's just a little on the forgettable side. With the rerun era essentially obsolete, Relay won't have the same chance as its predecessors, but perhaps it finds a home on streaming. ADRIANO It's disappointing to have a movie you're genuinely enjoying get ruined by a big twist. That's what Relay is, a movie that had me enthralled with its whip-smart cat-and-mouse game for a large chunk of the runtime, which was enjoyable enough to overshadow the narrow attempts at emotional character writing; however, when that big reveal happens, it turns the movie completely on its face in a way that isn't true to anything that was set-up, story- or character-wise. I don't know the reveal's point, but it was a serious momentum killer. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

MINIONS & MONSTERS Starring: Pierre Coffin, Allison Janney, Christoph Waltz, Jesse Eisenberg, Trey Parker, Jeff Bridges, Bobby Moynihan, Phil LaMarr, and Zoey Deutch Director: Pierre Coffin AMARÚ What the hell did I just watch? I honestly don’t know. The best description I can give is that Minions & Monsters is a compilation of 15-minute Looney Tunes episodes loosely tied together. If director Damien Chazelle decided to remake Babylon with Minions and all of the juvenile comedy that his five-year old niece loves, it would be this. I don’t know if he even has a niece, but this movie shows you can make anything up and throw it on screen. I’ll say that it is beautifully animated, but outside of that, I’ll only praise the joyful laughs of children that filled the theater. ADRIANO In Minions & Monsters , the bit-compilation concept just comes off as noise. The old Hollywood setting can be fun with references here and there, and the "love-letter to cinema" messaging is nice (although it often feels like dressing as opposed to the point). The charming freneticism of the franchise's sense of humour is still there, and for all of Illumination's shortcomings, animation is never one. But considering the titular monsters don't factor in until it's about to end, and even then, can't keep its head straight, as someone over the age of 10, there's not much to admire. KATIE I loved Minions & Monsters. I’ll admit, I’m biased because I already find Minions hilarious, and this instalment appeals to my inner film nerd. It has nods to silent cinema legends, the Lumière brothers, Méliès, classic films, and iconic monster and sci-fi movies, alongside the Minions’ signature physical and slapstick-inspired comedy that doesn’t miss a beat. Not a moment passes without a joke or a gag, and despite the chaos, the comedy is so fine-tuned that you’re always engaged. The relationship between Henry and James (both Pierre Coffin) is genuinely sweet, the supporting characters are endearing, and the voice cast is great. Plus, the animation is faultless.

NO WAY UP Starring: Colm Meaney, Jeremias Amoore, Sophie McIntosh, Phyllis Logan, Grace Nettle, James Carroll Jordan, and Manuel Pacific Director: Claudio Fäh QUENTIN Even as direct-to-digital, shark-themed, B-movies go, No Way Up is dead in the water. Usually, a movie like this can generate enough goodwill to be passable with its low-budget thrills and laughably schlocky death sequences, but those are nowhere to be found here. However, what you will find includes some pretty atrocious acting and a surprising lack of shark mayhem. If that interests you, No Way Up has that in spades. Otherwise, you’re better off watching the relative masterpieces that are Snakes on a Plane , 47 Meters Down , Sharknado , or God forbid, Deep Blue Sea . KATIE No Way Up is far too dull for a premise this wacky. I don’t mind underdeveloped characters, shonky effects, or a nonsensical plot if the film indulges in absurdity and the “so bad it’s good” vibe that many other shark attack films do, but No Way Up does not deliver as many B-Movie thrills as it should have. All of the danger and action are secondary to the strained dialogue between the characters, and there is no sense of suspense, so it didn’t fulfill even my most basic expectations. This is pretty underwhelming even for fans of B-movies.

VACATION FRIENDS 2 Starring: John Cena, Meredith Hagner, Yvonne Orji, Lil Rel Howery, Carlos Santos, Steve Buscemi, and Ronny Chieng Director: Clay Tarver NICK As much as the first Vacation Friends was a fun and ridiculous romp, it really didn't warrant a follow up. Now that I've seen the sequel in question, my opinion remains unchanged. There are some positives, and John Cena's over-the-top Ron is a highlight. Unfortunately, the shock value is diminished, and because of that, the script just isn't as funny this time around. Aside from new additions Steve Buscemi and Ronny Chieng, this all feels like a retread. The bar for comedy in 2023 has been set reasonably high with films like Joy Ride , and unfortunately, Vacation Friends 2 just doesn’t meet it. CALEB I ended up enjoying Vacation Friends 2 a lot more than its predecessor. The humour is still lowbrow and clichéd, but the cast is strong enough to sell most of it. Steve Buscemi, a notable addition, proves to have surprisingly great comedic chemistry with John Cena, and the film is at its best whenever they’re sharing the screen together, busting each other’s chops. While the plot is nothing groundbreaking, it works well enough as an entertaining vehicle for jokes. Vacation Friends 2 certainly won’t change your life, but there are worse ways to spend two hours. KATIE The only thing that saves Vacation Friends 2 from being an utter failure is the dedication of its cast. I found John Cena, playing Ron, genuinely funny and charming, and he was the reason for most of my laughs and favourite comedic set pieces. However, there are many competing and confusing subplots, which, despite the almost two-hour runtime, were all underdeveloped. This was especially disappointing as Emily (Yvonne Orji) and Marcus’ (Lil Rel Howery) baby drama, one of the more interesting deviations from the relentlessly unfunny plot, was seriously underutilized. AMARÚ Just like the original, Vacation Friends 2 constantly sits on the precipice of stupidity, yet somehow never falls over the line. The charming cast keeps you entertained just enough to overlook predictable plot points and ridiculously convenient premises, while John Cena continues to prove his comedic prowess, playing off the delightful chemistry from Lil Rel Howery and Yvonne Orji. But it’s Carlos Santos’ standout dry wit that most often reels the film back from the ledge. Vacation Friends 2 isn’t great by most means, but I once again didn’t regret killing two hours watching its absurdity.

THE IRON CLAW Starring: Zac Efron, Jeremy Allen White, Harris Dickinson, Stanley Simons, Holt McCallany, Lily James, and Maura Tierney Director: Sean Durkin NICK Professional wrestling has a treasure trove of true stories that are rarely told. So, I was elated to hear that director Sean Durkin was bringing the legacy of the Von Erichs to the big screen, a task he more than succeeds at. His attention to detail in both match re-enactments and the vintage feel is aced, while the cast... Man, what a masterclass in casting. Every member of this decorated family is portrayed with poise and authenticity as they take you through this tragedy-filled tale. Wrestling fan or not, this is a film bound to stick with you. Tissues mandatory. PAIGE Inspired by the true and tragic story of the Von Erich family, The Iron Claw hits harder than any powerbomb could. What director Sean Durkin is able to conquer both inside and outside the ring throughout this movie is masterful. It’s a compelling and vulnerable look at the toxic confines of trying to chase the American dream. Yet, above all else, it’s a story about the beauty of brotherhood, which leads to the ensemble cast delivering such committed and powerful performances, especially Zac Efron. This film proved that the Von Erich’s brotherly bond was stronger than any wrestling move out there. AMARÚ The Iron Claw does this thing where it starts off as one long wrestling show even when outside the ring. Just when you think that might be a double-edged sword, bringing intensity and entertainment alongside performative and saccharine dialogue, you begin to realize that’s the point. Once it stops being a show and transitions into a devastating look at the cost of obsessive determination, all that showmanship sets up an emotionally powerful payoff. The entire ensemble delivers in this true story’s gut-wrenching presentation, but it’s Zac Efron’s subtle vulnerability that drives this magnificent film’s forceful hope amidst the heartache. PRESTON Professional wrestling movies may hold the secret formula for being great. With so little chance of being successful, little monetary gain throughout, and the damage inflicted upon one’s body and family, it is the perfect recipe for an examination of the human condition and what it means to persevere. Director Sean Durkin takes advantage of this recipe to successfully tell the true and tragic story of the Von Erich wrestling family in The Iron Claw . Beautifully acted, this film’s realism will have you feeling privileged to watch as you navigate the burning sadness that provides little relief. ADRIANO I knew nothing about the Von Erich family going in, so I was not prepared for the emotional devastation of The Iron Claw . What could've been an entirely grim film that relies on its heavy subject matter takes its time with this family’s tragedy to offer a nuanced and compassionate film that, despite how tough it can be, offers many wholly earned, tear-inducing moments. Amongst the amazing cast, Zac Efron shines the brightest in a career-defining performance in what ultimately is a hard but beautiful film that I feel is necessary viewing. QUENTIN Objectively speaking, The Iron Claw is one of the best movies of the year, featuring tremendous acting across the board, waves of emotion, and perfect era-specific details (especially in the wrestling scenes). However, and I fully acknowledge that this is a “me” problem, but I already knew the story of the Von Erichs, so some of the emotional beats didn’t hit quite as hard for me or they felt slightly glossed over. This is the general problem when watching movies based on true stories you’re familiar with. Still, with the completely yoked Zac Efron giving a career-defining performance, it’s one of 2023’s true must sees. CALEB With The Iron Claw , director Sean Durkin tells the story of the Von Erich brothers with compassion, ensuring that the weight of these tragedies never overshadow the powerful love these men shared. The entire cast is exceptional, but Zac Efron shines as Kevin Von Erich, delivering a performance that delicately balances gentleness with raw, animalistic power. My biggest gripe with the film lies in its conclusion. While the rest of the film handled the topic of toxic masculinity with subtlety, the final moments were far too heavy-handed. Despite the rocky ending, The Iron Claw remains a beautifully crafted tribute to these incredible athletes.

SHORTCOMINGS Starring: Justin H. Min, Sherry Cola, Ally Maki, and Sonoya Mizuno Director: Randall Park AMARÚ Shortcomings is an apt title for Randall Park’s self-aware directorial debut. Not because the movie is substandard, it’s perfectly enjoyable; but that he utilizes his characters’ flaws to point out society’s shortcomings when misusing political correctness. Park comically discerns how assholes use “wokeness” to cover up their own pomposity, and setting the film in the hub of activism, Berkeley, CA, is even better. Sometimes you’re the problem, and Justin H. Min plays that sort of self-sabotaging, pretentious dick very well, hilariously playing off entertaining up-and-comer Sherry Cola. Shortcomings is an inoffensive 90-minute self-examination of today’s world and, ultimately, a pretty nice watch. ADRIANO Randall Park’s directorial debut, Shortcomings , is uneventful, but overall, pretty enjoyable. At the center of the film is Justin H. Min’s lead performance that I sure hope opens the door to more starring roles because he is great here. As for the film, it’s a funny and endearing movie that, at worst, attempts to make a statement about cultural perception and modern relationships in a way that never clashes with each other. However, the movie never strikes a nerve in the way that Park and writer Adrian Tomine intended. Nonetheless, it’s an entertaining and interesting movie that’s easy to recommend to most people.

MARTY SUPREME Starring: Timothée Chalamet, Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Abel Ferrara, and Fran Drescher Director: Josh Safdie ADRIANO I liked The Smashing Machine enough, but based on Marty Supreme , it's clear to me that director Josh Safdie is the more talented brother. He directed a level of energy that elicited high levels of adrenaline, matched only by a career-best, manic performance from Timothée Chalamet. It could've been tighter in the middle, but when that final stretch kicks in, it all comes together in glorious fashion. Matching satisfying euphoria with tragic lows in a brilliant character study of a young man blinded by ambition, Marty Supreme is the type of grimy extravaganza that gets me excited to go to the movies. NICK In the battle of the Safdie brothers, Josh is the clear winner as Marty Supreme is one of the best films of the year. Josh brings back the real-world griminess of Uncut Gems and pairs it with a kinetic energy that somehow surpasses Gems . It's great direction from Safdie, but it’s the casting that takes this over the top. Be it the unorthodox supporting performances (Kevin O’Leary, Fran Drescher, Penn Jillette) or the strong showings from Gwyneth Paltrow and Odessa A'zion. Then there’s Timothée. If you’ve been a Chalamet doubter, expect this to be the film that changes your mind; he’s exceptional here. AMARÚ Marty Supreme is lightning in a bottle, but not in the metaphorical, one-of-a-kind type of way. If literal meteorological electricity hummed around, encased in glass, full of energy, and ready to melt it to sand at any moment, that would be what this movie felt like. It’s sheer will, dedication, and self-confident bullshit unraveling at a non-stop pace, headlined by an unwavering Timothée Chalamet, and backed by a just-as-game supporting cast. It does get long in the tooth at times, but never to the point where it’s any less entertaining to watch. BODE Well, Marty Supreme is clear proof that director Josh Safdie is the chaotic sibling. Apologies to Benny, but I prefer the chaos. Much like Good Time and Uncut Gems , he and longtime co-writer/editor Ronald Bronstein weave another character study of one man’s selfish ambition. And though it’s slightly more unwieldy than both, it’s no less thrilling to watch - especially since those in front (Timothée Chalamet, and a wildly assembled supporting cast) and behind the camera (cinematographer Darius Khondji, composer Daniel Lopatin, and music supervisor Gabe Hilfer) create such an intoxicatingly manic atmosphere. One of 2025’s best films in my book. ROBERT Marty Supreme is a movie where something is always happening, which is rare, as lulls are expected over a two-plus-hour runtime. There is poetry to having the protagonist’s life in the story mirror the freneticism of the game to which he is bound and must master. Putting Timothée Chalamet in this lead spot at this point in his career was brilliant casting, especially since this character’s attitude and his own towards his acting are in lockstep. The environments, the costumes, and the atmosphere created are immersive, and the characters’ different reactions to innovation at a time of uncertainty was inspiring. Your serve, Academy. PAIGE Not only is Marty Supreme the character ambitious, but the film as a whole is too. From its exceptional writing and directing from Josh Safdie (co-written by Ronald Bronstein), stress-inducing editing, timeless cinematography, and electrifying score, the movie dreams big and fully immerses you into its live-wire energy. This film sets out for greatness and succeeds. Timothée Chalamet delivers his most confident performance to date, while the rest of the cast give an effortlessly strong showing. Marty Supreme may be a chaotic story with pacing that doesn’t allow you room to breathe, but it’s like watching a building burning down; you just simply can’t look away. KATIE Like Uncut Gems, Marty Supreme is an exhilarating, stressful film that refuses to stop moving. I love how it starts as a slightly more conventional sports movie, but with a more frenetic tone, and you can feel the moment it stops pulling its punches and fully launches into turbulent chaos. Timothée Chalamet is electric in the title role, further solidifying his star power and embodying the film’s propulsive energy and Marty’s obnoxiously charming, incessantly determined character. There is also an incredible use of music, with quintessential 80s needle drops and a rhythmic electronic score against the 1950s setting.

F1: THE MOVIE Starring: Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, and Javier Bardem Director: Joseph Kosinski QUENTIN Just so you know, I saw F1 on the world's largest IMAX screen, and I have no doubt that bumped my rating by at least a half reel. Watching the incredibly done racing sequences on a 127-foot by 69-foot screen with 12-channel digital surround sound created a fantastically immersive experience. However, outside of that and Brad Pitt's natural charisma, everything else left me wanting. Simply put, the story is generic, and it doesn’t do enough to make one invested between the in-car action. It’s certainly a lot of fun on the big screen, but I don’t think that will translate to the small one. AMARÚ F1 writers Ehren Kruger and Joseph Kosinski (who also directed) knew the film didn’t need to do anything special with its story because sticking to the sports movie magic formula generates blockbuster entertainment all on its own. So, they tapped cinematographer Claudio Miranda’s spectacular in-car camera work to create genuine thrills during its recognizable, yet still heart-pounding races, Brad Pitt and Damson Idris’ respectively established and up-and-coming star-power to connect you to somewhat thin characters, and Kerry Condon and Javier Bardem as the lovable cherries on top. F1 doesn’t break any molds; but really, did it ever have to? ADRIANO F1 will give you the highs you expect out of blockbuster sports dramas. Director Joseph Kosinski does an incredible job of making the racing sequences feel vibrant and pulse-pounding. There's an inherently easy-to-root-for plot, which for most people, is exactly what you’d want. The story is conventional, which isn't instantly bad, but because the entertaining characters are forgettable, the entire experience feels a lot like a sugar high: in the moment, a ton of fun, but once that moment is over, it's just over. It feels fleeting, but that doesn't erase the successful thrills F1 produced. BODE It’s no surprise that director Joseph Kosinski would continue to follow in Tony Scott’s footsteps after Top Gun: Maverick , as in re-teaming with much of Maverick ’s creative team, he crafts his own Days of Thunder with F1 . This time though, the heights are inconsistent. The racing sequences are truly exhilarating, and its cast is certainly likeable (put Kerry Condon in everything, please). But there isn’t enough shading to its narrative foundation or characterization, making it hard to fully invest in the drama - especially at nearly three hours. It’s fine enough as a piece of escapism, but it could’ve been more.