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THE LEGEND OF OCHI Starring: Helena Zengel, Willem Dafoe, Finn Wolfhard, and Emily Watson Director: Isaiah Saxon NICK You’re going to hear this phrase in plenty of The Legend of Ochi reviews, but there’s no other way to describe it: this is A24's take on an 80s Amblin film. It even uses animatronics and puppetry to enhance its nostalgia. Having said that, it can be a bit messy due to some of the narrative shortcuts it takes, and although that won’t be as noticeable to the children who watch, this is a family film, so you want everyone to enjoy and follow. It’s fine for what it is, but some refining would have made it better. The little Ochi is adorable, though. ADRIANO There's a clear goal in mind in The Legend of Ochi to recapture the magic of 80s fantasy-family films, and in that regard, there is success. It resides in a bizarre alt-reality setting that the movie has a lot of fun with, down to the gorgeous cinematography and score. The movie soars highest when focusing on Helena Zengel and the adorable Ochi creature and less on the family drama stuff. That part gets a little messy, but the "accepting your weirdness" aspect of the core plot was endearing and cute enough to hold my attention throughout.

TURNING RED Starring: Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, and Tristan Allerick Chen Director: Domee Shi AMARÚ I haven’t decided what I like more about Turning Red : the little hints of horror to reveal Mei’s (Rosalie Chiang) Panda, the late-90s coming-of-age vibe, or Ludwig Goransson’s B2K/N’Sync-tinted score that encapsulates my childhood in one movie. I may not be a 13-year-old girl going through changes in her identity, but the strong themes of self-discovery, friendship, and familial ties are universal to all of us who have had to come into our own. Turning Red continues the Pixar tradition of writers telling their unique stories to create something beautiful and touching. JACOB Turning Red , like Luca before it, is unlikely to land near the top of anyone’s “Best of Pixar” list, but it could prove a nice time for kids and fans of the studio. That said, this Disney+ release doesn’t seem to explore its ambitions as thoroughly as it wants to. There is a fair amount of depth to cover, but the film only seems interested in it about half the time. Regardless, what it chooses to engage with, it addresses in fun ways. It’s also nice to see animation tackle female pre-pubescence specifically in such a carefully-nuanced fashion. NICK As someone who grew up on Pixar films, it was special seeing my hometown of Toronto represented on screen in this medium for the first time. In a nutshell, that’s what Turning Red is about: representation. Whether it’s looking into Asian culture and its values or giving early teen girls a (mostly) relatable film about the fears of puberty, Turning Red follows the Inside Out -approach of delving into the way we feel. Unfortunately, it lacks the emotional punch of the latter, while sadly spotlighting Disney’s reluctance to showcase LGBT characters. So, a marked improvement, but still room to grow in the representation field. QUENTIN Be it my complete inability to relate to the central themes, the obnoxiously irritating characters, or the fact that it’s a blatant Teen Wolf ripoff, Turning Red is easily one of Pixar’s “worst” movies. That said, Pixar doesn’t really make “bad” movies, so it’s still fairly decent; However, it very much feels like a straight-to-streaming effort on their part, lacking the emotional weight of some of the studio’s other offerings. It’s possible that women and teen girls (especially those of Chinese descent) will get more out of this film than I did, but it’s getting tossed on the forgettable pile alongside Onward for me. ADRIANO Although it might not be Pixar’s best, Turning Red is definitely their most mature film. Director/co-writer Domee Shi’s film is painfully awkward and relatable in its depiction of puberty and self-identity, going places I never expected to see in a Pixar movie. The animation is extremely unique and a ton of fun too. It’s genuinely very funny but, in traditional Pixar fashion, the emotions run high in the third act. It didn’t make me cry, but I was close. Another stellar Pixar outing.

THE UNBEARABLE WEIGHT OF MASSIVE TALENT Starring: Nicolas Cage, Pedro Pascal, Tiffany Haddish, Sharon Horgan, Lily Mo Sheen, Ike Barinholtz, Alessandra Mastronardi, Paco León, and Neil Patrick Harris Director: Tom Gormican QUENTIN The Unbearable Weight of Massive Talent is surprisingly successful as a commentary on ego v. family, a buddy comedy, a pseudo-spy actioner, and most importantly, a celebration of Hollywood icon Nic Cage. The This is the End meets Tropic Thunder meta take on “The Legend of Cage” works so well because Cage allows himself to be the butt of the joke, which brings some humanity to a man mostly referenced for his eccentricities. That said, I’m slightly disappointed that it didn’t go deeper with the Cage homages, but that has more to do with my own expectations than anything else. It’s still a fun ride. NICK Don’t let The Unbearable Weight of Massive Talent fool you. What seems to be a film made solely for Nic Cage fans is actually a hilarious meta take on a narcissistic actor, which Cage plays perfectly thanks to his ability to poke fun at himself. He’s joined by Pedro Pascal (with yet another great comedic performance), and the chemistry between the two is undeniable. This film is a ton of fun. Even if you aren’t a Cage fan, you’ll still be able to enjoy this. And if you are one? You know exactly what you’re going to get: NIC FUCKINNNNNNNNN’ CAGE. PAIGE The Unbearable Weight Of Massive Talent is a heartfelt and hilarious love letter to the man, the meme, the legend himself, Nicolas Cage. Who would have guessed Cage playing himself would become my favorite of his roles? He and Pedro Pascal are a brilliant comedic duo that will have you chuckling nonstop throughout the film because their chemistry is through the roof. Yes, the film is very meta, outrageous, and absurd, but this bromance comedy is destined to become a cult classic! ADRIANO The Unbearable Weight Of Massive Talent is a love letter not just to the man, the myth, the legend Nicolas Cage, but also a love letter to film fans. The movie didn’t elicit as many laughs as I would’ve hoped for, but there are still enough to make it a complete blast. Cage goes full parody mode in glorious Cage fashion, playing into the mythology around him perfectly. He and Pedro Pascal have pretty awesome chemistry together too, making the buddy aspect of this film both funny and really sweet. It’s an undeniably fun time at the movies. JACOB A proper class in meta-comic filmmaking, The Unbearable Weight of Massive Talent is one of the year’s greatest joys in moviegoing, especially for fans of Nicolas Cage. Cage owns every second of screen time in this pseudo-buddy comedy about family, career, movie-loving, and fandom. The script is chock full of references to Cage films, but other beloved works of Hollywood as well (a Paddington 2 joke stands out as one of its great moments). Cage’s career renaissance is well underway, and if this reverent film is any indication, one of Hollywood’s greatest actors is truly back – not that he went anywhere. AMARÚ The legend of Nic Cage is mythical, and The Unbearable Weight of Massive Talent understands that legend. It’s as particular and unique as the actor himself, with its self-awareness being the deciding factor in whether you enjoy the Cageness of it all. Pedro Pascal and Cage’s chemistry is palpable, and their sweet buddy-cop storyline helps to acclimate you into the self-referential ridiculousness. Massive Talent won’t be for everyone, but this meta take on the undeniable singularity of one Nic Cage is a fun time if you just ride the wave.

IT'S WHAT'S INSIDE Starring: Alycia Debnam-Carey, Brittany O’Grady, James Morosini, David Thompson, Gavin Leatherwood, Reina Hardesty, Devon Terrell, Nina Bloomgarden, and Madison Davenport Director: Greg Jardin PAIGE It’s What’s Inside is a creative and electric pseudo-whodunnit, and while it clearly takes inspiration from films like Coherence and Bodies Bodies Bodies , it still manages to feel fresh. The film's inventive twist is enhanced by its clever screenplay, deft editing, and stunning neon cinematography. It also boasts a highly entertaining ensemble. Though I admit, at times, it can be hard to follow, so in order to avoid getting lost, I suggest trying to memorize all of the characters' names as quickly as possible. All things considered, it's a fun flick with some great social commentary that I recommend watching with a group of friends. QUENTIN There is a lot to like about It’s What’s Inside , including a relatively original concept, a unique and neon-soaked visual flair, and excellent needle drops. However, it takes about an hour to get going, and I did not enjoy spending that first hour with these annoying Zoomers (the second hour is better). On top of that, the layering of how things play out can get super confusing as you’re trying to track which underdeveloped character is in which body (tip: remember character names). It’s aggressively reminiscent of Bodies Bodies Bodies , which I didn’t love because of its in-your-face Gen-Z-ness, so maybe let that be your guide. KATIE It’s What’s Inside is an entertaining horror-ish comedy in the vein of Bodies Bodies Bodies and Talk To Me, providing similarly satirical takes on Gen Z with a unique concept at its core. The setup is incredibly engaging, once you get the hang of it, and provides ample opportunities for the cast to have fun with their performances and shifting dynamics. It also has neon-lit, glowing visuals and a fun style of editing with flashbacks that set it aside from the films it clearly takes inspiration from. Overall, It’s What’s Inside is an undeniably fun, witty, and compelling feature debut for writer-director Greg Jardin. PRESTON It's What’s Inside is an absolute surprise Netflix mystery-thriller by writer/director Greg Jardin. Full disclosure: I try to watch films that have a high probability of being good with my wife. As I started watching this one solo, the couple-guilt began to creep in as I realized how good it actually was. That said, aside from a general distaste for the way the characters are written, which takes stereotypical Gen-Z behaviors beyond the point of comical effect deep into the realm of annoyance, the plot is twisted like scoliosis. It keeps you engaged by teetering on the edge of confusion and explanation.

WATCHMEN: CHAPTER 1 Starring: Matthew Rhys, Katee Sackhoff, Titus Welliver, Michael Cerveris, Troy Baker, Phil LaMarr, and Rick D. Wasserman Director: Brandon Vietti QUENTIN Watchmen: Chapter I is a well-done and faithful adaptation of the seminal graphic novel that is built on vibrant animation and a decent voice cast. However, it never justifies its existence for those familiar with the material. If you’re too busy to read the classic comic, or are so anti Zack Snyder’s Snyderness that the live-action version doesn’t appeal to you, this is a worthy entryway to the story. However, by splitting it into two chapters, Chapter I is literally half of a movie, so it might be best to wait for Chapter II so you can watch the dark tale in a single sitting. PRESTON Watchmen: Chapter I seems to be dedicated to the true fans of the original graphic novel. My familiarity with the story is limited to a single viewing of the Zack Snyder adaptation, not to mention an appreciably better experience with HBO's miniseries, so the muddled storyline presented did a lot to hurt my rating. As this is really just a stodgier animated retelling of merely half of the mediocre 2009 film, I would have preferred to avoid purchasing the film for an overpriced $19.99, as it’s, strangely, the only current (legal) viewing option.

SPIDERHEAD Starring: Chris Hemsworth, Miles Teller, Jurnee Smollett, and Mark Paguio Director: Joseph Kosinski JOSEPH Spiderhead is a nice surprise. Chris Hemsworth steals every scene he’s in, bringing a maniacal glee to the role. It also is a testament to just how good of a performer Hemsworth is. From a story perspective, Spiderhead has its hits and misses. Sometimes it feels like its moving a little too slowly, and while the finale is exciting, the overall resolution leaves something to be desired. Still, I think the high concept and solid performances are enough to make Spiderhead a worthwhile watch. NICK Story wise, Spiderhead conjures up memories of The Island and Ex Machina , and although it’s more predictable than those films, the performance of Chris Hemsworth makes it work. Hemsworth has a blast every minute he’s on screen, and when he’s absent, the film takes a noticeable hit. That’s not to say anything of the performances from Miles Teller and especially Jurnee Smollett, but this is The Chris Hemsworth Show. Spiderhead also makes for another solid outing from director Joseph Kosinski following the success of Top Gun: Maverick . It may not reach the heights of that film, but Spiderhead is still a fun ride. JACOB Joseph Kosinski’s Spiderhead isn’t a total bore, but it feels as if the story being told was meant to be in a miniseries format at first, then squeezed down to about two hours. Almost none of the characters actually receive the development they need to carry this narrative, and the idea of the location itself never really gets any traction beyond it simply being the setting. The film does attempt to grapple with some interesting concepts, but never actually explores them; without Chris Hemsworth and Miles Teller to keep its poorly-structured weight afloat, it likely would have sunk entirely. QUENTIN With its strong Ex Machina vibes, a charismatic performance from Chris Hemsworth, and a terrific yacht rock soundtrack, Spiderhead is a fun little slice of thrilling intrigue, even if it’s never quite as good as the sum of its parts. Truthfully, my only real complaint is that a lot of the movie, both characters and plotlines, is underdeveloped. Revelations are made without much build up, so they don’t quite resonate the way director Joseph Kosinski probably wants them to. That said, this lone flaw never makes the movie less than engrossing, but it does drop Spiderhead from potentially great to merely pretty good. PAIGE Spiderhead has an intriguing premise and a great cast, but overall, it is not a winning bingo card. This sci-fi thriller is a bland pill to swallow, honestly. Despite the success director Joseph Kosinski just had with Top Gun: Maverick , this film unfortunately comes with side effects of nausea, headaches, and disappointment. The concept needed more meat to its bones, and it left me feeling like it was missing a whole other layer. Still though, it’s enjoyable enough due to the performances of Chris Hemsworth and Miles Teller.

THE KILLER (2024) Starring: Nathalie Emmanuel, Omar Sy, Sam Worthington, and Diana Silvers Director: John Woo AMARÚ Omar Sy and Nathalie Emmanuel can do (almost) no wrong. They’re two actors I thoroughly enjoy watching, no matter what they’re in, and are the predominant reasons I found entertainment in director John Woo’s remake of his own movie, The Killer . Individually, Sy is endearing and Emmanuel is intriguing. Together, their chemistry is delightfully playful, and it covers up the shoddy special effects and campy script that made me wonder whether Woo didn’t get a big enough budget, is losing his touch, or was always too damn dramatic for the U.S. With The Killer following Silent Night , I’m slightly worried about the answer. QUENTIN I have no idea why director John Woo decided to remake his own hard-boiled classic The Killer , and I especially don’t know why he traded in its gritty noir vibes for the kind of cheap-looking, ultra-glossy aesthetic you find almost exclusively on straight-to-streaming releases. But he did, and here we are, with a plethora of soullessly recreated Woo-isms. You want doves, cathedrals, and gunfights? They’re all here, but they’re done in the sort of superficial “style” that recalls drinking Purple Drink out of Tiffany crystal and calling it “classy.” Woo’s heyday is something to remember, but he clearly doesn’t have it anymore. This is barely serviceable.

EMILIA PÉREZ Starring: Zoe Saldaña, Karla Sofia Gascón, Selena Gomez, Adriana Paz, Mark Ivanir, and Édgar Ramirez Director: Jacques Audiard KATIE Emilia Pérez is brash, bold, and energetic, combining melodrama, tension, crime, violence, and dazzling musical numbers. It kept me guessing at every turn and consistently subverted my expectations, with the tone veering from tragic to uplifting to suspenseful. I just allowed it to take me on an insane ride instead of trying to figure out what it was supposed to be. Zoe Saldaña is also enthralling in one of the leading roles — I could not take my eyes off her. Overall, Emilia Pérez is full of spectacle, ambition, and uniqueness. NICK There will deservedly be a lot of awards chatter for the women of Emilia Pérez , particularly Zoe Saldana and Karla Sofía Gascón. The film itself, on the other hand, is kind of flawed. The musical numbers are very traditional (for the most part), and they don't really do anything to greatly enhance the story. In fact, I think you could watch a version of Pérez with all of them cut out and still be able to follow everything. That can only be viewed as a flaw. So, although you get the aforementioned performances and a twisty story, temper your expectations. QUENTIN I genuinely have no idea how Emilia Pérez works as well as it does. Sure, it features terrific performances across the board (especially Karla Sofía Gascón), but it’s just such a bonkers premise and approach that you keep waiting for it to collapse under the weight of its own ambitions. It never does, though. The gritty crime elements are tense, the musical sequences are percussive and propulsive, and the character dynamics feel real and sincere. The fact that it all comes together near flawlessly is a testament to director/screenwriter Jacques Audiard’s ability behind the camera and the self-confidence in his vision on the page. ADRIANO While there are a handful of misfires in Emilia Pérez , I still really admire the ambitions. In the back half, the movie gets really messy as they introduce a little too much and the genre anarchy becomes more of a headache than fun. Overall, though, I was into the insanity that writer/director Jacques Audiard introduced. Not all of the music hits, but I enjoyed the musical numbers themselves, and I thought Karla Sodia Gascón and Zoe Saldaña were amazing. Whenever the movie is centred and focused, I was thoroughly engaged enough to say I really enjoyed Emilia Pérez . AMARÚ There’s something freeing about being allowed to speak in the language you think in, and in Emilia Pérez , watching Selena Gomez and Zoe Saldaña act in (one of) their native languages unlocked a ferocity never seen in either. Their terrific performances, alongside the outstanding Karla Sofia Gascón, uplifts the film’s amateur (in the non-negative literal sense) features, with its flawed and unpolished edges highlighting its portrayals of flawed people. Emilia Pérez is the most interesting film I’ve seen in years, giving soul to the saints, sinners, the lost, and the found, with depth that 100 words cannot cover. This film was reviewed by Quentin, Nick, Adriano, and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival, 2024 Toronto International Film Festival, and 2024 BFI London Film Festival respectively.

THE BUBBLE Starring: Karen Gillan, Iris Apatow, Fred Armisen, Maria Bakalova, David Duchovny, Keegan-Michael Key, Leslie Mann, Kate McKinnon, Pedro Pascal, Peter Serafinowicz, and Guz Khan Director: Judd Apatow ADRIANO As an avid admirer of writer/director Judd Apatow, I was disappointed by The Bubble . This film is just such a departure from Apatow's other works. While he excels in relatable and accurate relationship dramedies, this is a failed attempt at meta absurdism comedy with outdated themes and an unfocused plot. It’s not all terrible though, as the cast is fully committed (particularly a hilarious Pedro Pascal) and there are some jokes that had me howling; However, the jokes missed more than they hit. The only thing that truly made this feel like an Apatow film is the overlong runtime. JOSEPH It’s hard to imagine how a Judd Apatow film could be so bad. Maybe it's too timely or maybe it thinks it's more clever than it is, but all in all, The Bubble is just a snooze fest. It’s forgettable, it’s dumb, and while certain parts will make you laugh, it doesn’t make up for the movie as a whole. This feels like a student improv workshop that somehow got turned into a script. I am saddened that I ever wasted time on it. QUENTIN I think director/co-writer Judd Apatow had a decent idea with The Bubble , which is akin to Tropic Thunder: Pandemic ; However, in 2022, I can’t tell if it’s too soon or too late. Either way, it’s a complete misfire. Social distancing, quarantine, and testing jokes feel both too dated and still too much of a sore subject to be funny. On top of that, it feels very inside baseball, like it was made only for people who shot a movie during the pandemic. Admittedly, there are a couple funny one-liners because a cast this talented can’t be held down forever, but, otherwise, oof.

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.

HONK FOR JESUS. SAVE YOUR SOUL Starring: Regina Hall and Sterling K. Brown Director: Adamma Ebo AMARÚ Honk For Jesus. Save Your Soul. ’s subject matter is one that epitomizes “if you know, you know.” Directing/producing duo Adamma & Adanne Ebo address the sometimes swept-up transgressions of the Black church in a way that still feels empathetic and loving, but it’s the knockout performances from Sterling K. Brown and Regina Hall that carry the authenticity with a powerful balance of satire, subtlety, and intensity. The movie as a whole leaves you wanting more closure in the storytelling and more levity in it’s dark comedy leanings, but watching two enthralling performances for 100 minutes will keep you entertained. QUENTIN I’m sure some people will find Honk for Jesus. Save Your Soul. to be a hilarious takedown of religion and megachurches, but for me, someone who watches The Righteous Gemstones and has seen other similar satires, its jabs are more than just a little tired and never quite as sharp as the writers think they are. On the plus side, Sterling K. Brown is magnetic as disgraced pastor Lee-Curtis Childs, but if the only things I’ll truly remember are that Childs’ suit game is on point and that Brown is surprisingly shredded like a superhero, that doesn’t say much for the movie as a whole. JACOB Satires are difficult to nail down, which is why Honk for Jesus. Save Your Soul. probably deserves a little more credit than I’m likely to give it as one of 2022’s hidden gems. While the sendup of megachurch culture does boast dynamic performances from Sterling K. Brown and Regina Hall, it fumbles when reaching for something more sincere underneath the comedic tone. Balancing satire between blistering and tragic often leaves a film struggling to commit to either, this being no exception. It still mostly works, but feels somewhat emotionally hollow, rendering its more pensive second half difficult to fully embrace.

THE KILLER (2023) Starring: Michael Fassbender, Charles Parnell, Tilda Swinton, Sala Baker, and Arliss Howard Director: David Fincher QUENTIN With only his second movie since 2014’s Gone Girl , director David Fincher returns to his dark thriller roots with the noirish The Killer , a lean assassin flick that pairs the slick planning sequences usually seen in heist movies with the deliberate tone and methodical pacing of Mindhunter . A tightly written revenge story, it features a dryly funny Michael Fassbender as he delivers Dexter -style voiceovers about how to be a successful assassin. Even if it is relatively straightforward, especially by Fincher standards, it’s no less compelling than some of Fincher’s best works, landing in the top tier of Netflix Originals. NICK The Killer may not be director David Fincher's top feature, but it's certainly in the upper half of his filmography. The director has crafted a tense and surprisingly humourous sensory experience that feel less like a film and more like a tense situation you've become immersed in. Michael Fassbender provides the nameless assassin with the exact cold and calculated persona the film requires, including an insightful inner monologue (think Dexter ), and though it may not be the most action-packed film you see this year, it boasts one of the most hard-hitting fight sequences you're bound to come across. Overall, another winner for Fincher. ADRIANO When it comes to the story, The Killer is not without its flaws, but it's a badass David Fincher flick, nonetheless. The majority of its runtime is a meticulous procedural process that the film insists we go on, and while that may sound grating, it's endlessly fascinating and surprisingly funny. Fincher's modernized style takes us through the invigorating stoic eyes of Michael Fassbender, and every detail that gets picked up on is a blast. The editing and score help make this film a joy ride too, even if the ending is a bit rushed. All in all, The Killer is a well-planned and executed thriller. AMARÚ There is a line in The Killer that basically amounts to “if you can’t deal with boredom, this life isn’t for you.” Well, that same idea proves that this movie isn’t for me. While director David Fincher and star Michael Fassbender (the titular killer) take an interestingly introspective look at this kind of work, it feels too much like a stakeout, with a lot of waiting around for something interesting to happen. When something does happen, you take notice (fight of the year candidate included), but ultimately, this look at the mundane life of an assassin is not what I was hoping for. CALEB The Killer is one of director David Fincher’s most challenging projects to date. You can appreciate the movie as a meditation on labour, career, and perfectionism, but it’s certainly not the white-knuckle thriller some were expecting. The film is as cold, calculated, and patient as its protagonist, and this restrained approach might alienate a lot of Fincher’s die-hard fans. The Killer is a thought-provoking experience that certainly held my attention, but rarely had me on the edge of my seat. It’s definitely worth a watch, but it’s a shame that its story wasn’t as compelling as its thematic undertakings. KATIE The Killer is a cold, calculated, yet forgettable assassin thriller. It's undoubtedly stylish, modern, well-crafted, and meticulously shot, but it's also mundane and slightly tedious, with a lot of waiting around for something to happen, accompanied by an exhaustive voice-over. My issue is not that the film lacked sentiment, but that it has an emotional detachment that goes beyond the sociopathy of the protagonist and borders on uninteresting. However, Michael Fassbender gives a fantastic performance as the remorseless hitman, while Tilda Swinton lights up her brief screen time with wit and charm. PRESTON The Killer is a mashup of two great movies, John Wick and Drive , but is so much less successful than either or their sum. I don’t like criticizing the director (David Fincher) of some of my favorite works, but my own inner narrative compels me to do so. Character development is lacking, lighting is particularly terrible, and stylistics trump storytelling. I love the calculated-killer-capitalist whose emotion flickers in the light of personal tragedy, but the innovative approach to the assassin’s more mundane tasks is not enough to distract from the film’s failings. I didn’t hate it, but I probably won’t re-watch. PAIGE While extremely stylish, The Killer is a cold and simplistic revenge story. This gritty crime thriller allows director David Fincher to prove once again that he is an attentive craftsman; however, I must admit that this time around, I felt that he was more reserved behind the camera and played it safe with the story. I was intrigued by the introspective narrative approach of our lead, played by the underrated Michael Fassbender, but the film lacked heart. It seemed as if Fincher cared more about the technical aspects of the movie than the actual story. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.