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I KNOW WHAT YOU DID LAST SUMMER Starring: Madelyn Cline, Chase Sui Wonders, Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Gabbriette Bechtel, Austin Nichols, Freddie Prinze Jr., and Jennifer Love Hewitt Director: Jennifer Kaytin Robinson BODE It’s well known that the original I Know What You Did Last Summer was rushed into production in an attempt to capitalize on the success of Scream . So, it’s fitting that after the latter franchise got a 2020s revival, Sony would try and see if the same could happen for the former. After seeing the new “requel,” I’d say it wasn’t worth the effort. There isn’t much in the way of tension or memorable kills, and because it’s so workmanlike in execution, its attempts at metatextual commentary (not present back in 1997) fall flat. All in all, this is a pretty unsuccessful legacy sequel. AMARÚ As much as I like Chase Sui Wonders (who deserved a Studio Emmy nomination as much as anyone), the exposition-heavy script for this “requel” did no favors for her, the new crew, or the returning legacy characters. This is a shame because there was fun to be had throughout but every time a nuanced story element gave balance to the nostalgia, horrible editing and dumb character decisions would kill any momentum that the fresh takes would build. There was potential in the self-aware nature that director Jennifer Kaytin Robinson tried to portray, but she wasn’t aware enough to leave the 90s slasher stupidity in the past. ROBERT No matter how you showcased the “requel” template, the expectations were low for I Know What You Did Last Summer . Even so, the only kernels of joy gleaned from my viewing were nods to the 1997 original and its direct sequel. Unlike something like Scream (2022), I didn’t care about the new group of teenagers despite my preconceived opinions on the actors. There were some messages in the violence about the role of trauma in changing who a person becomes and the negative effects of gentrification on a community, but they didn’t prove meaningful. Like the movie in general, it all ended up feeling half-baked. KATIE I enjoyed I Know What You Did Last Summer far more than I expected. It’s slick, stylish, and campy whilst taking itself just seriously enough, and although it's heavy on the nostalgia, I think that’s fitting for a film that only exists because of another’s success. I actually liked this a lot more than the latest installments in the Scream franchise and thought the cast was much better. The script isn't always great, but Chase Sui Wonders and Madelyn Cline in particular elevate everything through their performances and they are what make it so enjoyable.

BULL RUN Starring: Chris Diamantopoulos, Tom Blyth, Ashwin Gore, Helena Mattsson, Alyshia Ochse, Troy Garity, Zach Villa, and Jordyn Denning Director: Alfredo Barrios Jr. KATIE Bull Run is an unbearably obnoxious film. The protagonist speaks directly to the camera in a manner that is clearly trying to replicate The Wolf of Wall Street, but it's as jarring as the rest of the editing. It constantly cuts to sequences of random stock footage-looking images and clips to emphasise particular points, doing so recklessly and seemingly without significance. Scenes are randomly intercut with cross-fades and repeated shots, annoying sound effects, and a distracting, bassy kind of soundtrack. I didn’t care about any of the characters or the story, and at only 100 minutes, I felt bored quickly. AMARÚ While Bull Run could have been nothing more than a cheap knockoff of The Wolf of Wall Street , director Alfredo Barrios Jr., star Tom Blyth, and a game ensemble use breakneck pacing, an infectious score, and the playfully jargon-filled screenplay to make something all its own. Smashing their foot on the pedal allows the cast to speed-talk through charming dialogues and monologues, have fun with not-too-vulgar schemes, and keep audiences engaged even if we can’t keep up with every interweaving plotline. Ultimately feeling more like Office Space than The Wolf of Wall Street , Bull Run is a surprisingly fun little film.

SPLITSVILLE Starring: Dakota Johnson, Adria Arjona, Kyle Marvin, Michael Angelo Covino, Nicholas Braun, David Castañeda, O-T Fagbenle, Charlie Gillespie, and Simon Webster Director: Michael Angelo Covino ADRIANO Between The Climb and now Splitsville , co-writers Michael Angelo Covino and Kyle Marvin continue to prove they are confident humanistic comedy filmmakers. With Splitsville , while Covino's direction is chaotic in every frame, he fills the film with impressive and intricate long takes where everything that comes together feels precise and hilarious. The performances from Covino, Marvin, Dakota Johnson, and Adria Arjona are amazing, but I don't know if the emotional punch down on the hypocrisy of open relationships hit how it was intended. Still, I think Splitsville is simultaneously grounded and absurd, which leads to a lot of big laughs. QUENTIN Splitsville is not without moments of humor, but it’s more chuckle comedy than laugh-out-loud comedy, which is odd because it’s such an absurdist farce. Each progressive plot point and escalating development is more and more unrealistic, to the point that I started rolling my eyes at the predictable situations more than chuckling at them. That doesn’t make it a bad movie, as Splitsville would be a good, lighthearted date movie given its charming performances and interesting ideas on modern relationships; however, for better or worse, it’s all a bit too silly and rooted in an unbelievable reality that will leave you thinking “people don’t behave this way.”

DEADPOOL & WOLVERINE Starring: Ryan Reynolds, Hugh Jackman, Emma Corrin, Matthew Macfadyen, Morena Baccarin, Rob Delaney, and Leslie Uggams Director: Shawn Levy NICK My biggest fear going to Deadpool & Wolverine was that it would tarnish the legacy of Logan , a film I consider the greatest superhero film of all time. Thankfully, it doesn't. It respects what came before it while also trying to build something new, and it does so in a way that only Deadpool (Ryan Reynolds) can: with gratuitous violence, foul language, and a cavalcade of cameos. There are some jokes that miss, and the fourth wall gets a little schticky, but Reynolds and Hugh Jackman make up for all of that. Jackman, in particular, is fantastic, reminding us just how synonymous he is with Wolverine. ADRIANO Deadpool & Wolverine is the cinematic equivalent of a baby’s mobile. There's fun to be had, and I did laugh more than I expected, but a lot of this film is just an ugly-looking waste whose only purpose is to force No Way Home -style applause out of audiences. Any attempt at effective character writing is poor (they got close with Hugh Jackman's Wolverine, in fairness), the film's action is weightless, the humour is repetitive, and the story is nonsense. For many, this'll be exactly what the doctor ordered, but for me, my fun peaked at the opening sequence. QUENTIN For Marvel fans, Deadpool & Wolverine has just about everything they could ask for: violent action, killer cameos, laugh-out-loud jokes, on-point character portrayals, and deep-cut Easter Eggs, all while paying a surprisingly loving tribute to the 20th Century Fox era of superhero movies. It’s probably the best and most rewatchable Marvel movie since Endgame . If I take my Marvel-bias hat off for a second, though…it’s a bit too long, mostly due to the abundance of exposition necessary to make the crossover work (such as it does), and Ryan Reynolds’ schtick can wear just a tad thin. Only you know if you’re a hat-on or hat-off person. AMARÚ Deadpool & Wolverine is a hilarious love letter to 25+ years of Marvel fandom that takes itself as seriously as Wade Wilson (Ryan Reynolds) takes moments of silence. The expositional setup is clunky, and I don’t need Shawn Levy to direct any more big MCU fight scenes, but from its absolutely pitch-perfect opening credits to every (rightfully) gratuitous cameo, this film is the blockbuster hit that a couple of this year’s legacy sequels wanted to be. Naturally, though, it’s Reynolds and Hugh Jackman’s chemistry that shines the brightest, proving that the title is spot on about what you came here to see. KATIE Deadpool & Wolverine delivers everything the fans want and more, from gratuitous violence and trashy humour to plenty of cameos and winking at the camera. Yes, the CGI effects and visuals are inconsistent, and the inconsequential plot is secondary to the fourth-wall breaking, F-bombs, and Deadpool (Ryan Reynolds) and Wolverine’s (Hugh Jackman) budding relationship; however, I laughed a lot more than I predicted, and any issues I had were quickly pacified by a self-conscious joke and Ryan Reynolds and Hugh Jackman’s undeniable chemistry. The film is essentially two hours of fan service, but I still had a great time. PRESTON For lovers of Marvel's cinematic universe, superhero comics, cartoons, television series and all other things of the ilk, Deadpool & Wolverine can be safely regarded as straight-up nerd porn. I, being a fan, found entertainment there, but will always place a higher value on the crushing sarcasm and dark humor that Ryan Reynolds, once again, delivers with expert precision. Although, even for me, some of the jokes eventually stale from overuse as the film goes too far for too long. No matter the length, I recommend staying all the way through the credits for one very satisfying final scene. SHADAN Once my most anticipated movies of every year, MCU films have become a pop culture chore lately. Perhaps the key to enjoying their offerings now is low expectations, but I can’t deny I had an absolute blast with Deadpool & Wolverine . Yes, it’s pure fan service, and it relies too heavily on cameos; I’m also willing to overlook the thin plot because I gave myself over to the silliness for two hours and received plenty of laughs and fun surprises in return. I found the 2000s-era, 20th Century Fox nostalgia sweet and surprisingly effective, making this my favorite of the Deadpool trilogy.

AMERICAN FICTION Starring: Jeffrey Wright, Sterling K. Brown, Erika Alexander, John Ortiz, Issa Rae, Myra Lucretia Taylor, Leslie Uggams, and Tracee Ellis Ross Director: Cord Jefferson NICK Talk about making your debut with an exclamation point! American Fiction is a brilliantly written satire about the way the Black experience is viewed and desired in mainstream (read: white) media. Writer/director Cord Jefferson has crafted a smart and hilarious film around Jeffrey Wright, who instantly makes you question why he doesn’t lead more projects. Jefferson said one of his goals with this film was to amplify underused actors, and he takes full advantage of the likes of Sterling K. Brown, Erika Alexander, and the rest of this talented supporting cast. I can’t wait for others to get to see this one. ADRIANO American Fiction juggles comedy, family drama, and social-racial politics amazingly considering this is writer/director Cord Jefferson’s first feature. The film is hilarious throughout, with a healthy blend of absurdism and slice-of-life humour. While the family drama plot can seem familiar (not in the way I imagine was intended), the way it blends with the commentary on how black people are depicted in the media and in culture was nothing short of brilliant. I foresee the ending dividing people, but I thought it was incredible. American Fiction is, at worst, a familiar comedy; at best, an ingenious satire. AMARÚ For as much satire that’s in American Fiction , it’s some of the realest shit I’ve ever watched. Within writer/director Cord Jefferson’s innumerably layered script, what resonates most is its focus on black people’s use of humor to deal with grief. Not to mask or deny it, but to recognize that sorrow, while existent, is not an absolute in life. That fraudulence of absolutes is the meticulously utilized throughline that ties together such a profoundly multifaceted story. And I haven’t even mentioned the performances, the music, the heart, the ending… (I could go on and on). This movie is fucking brilliant. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

HIM Starring: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, and Jim Jefferies Director: Justin Tipping NICK I think if Him was content with just being a story about the lengths one will go for greatness, it could have worked better. Instead, it’s a film that feels compelled to touch on things like race and religion without the depth to handle either. It’s too bad, too, because Marlon Wayans is actually quite entertaining, and there are some solid visuals throughout the film. It just all feels so hollow. It’s undone by striving to be more than it is, which is often the downfall of many pro athletes. Unfortunately, that parallel was unintentional. ADRIANO Much like the protagonist in the film (played well by Tyriq Withers, admittedly), Him has sincere hidden greatness. Maybe this is my anticipation talking, but I saw the potential even in the worst moments of the empty style that only distracted from the empty messaging. Too much of Him baffles more than frightens, but even at the lowest points of extreme confusion and disappointment, I was optimistic that it would redeem itself. And then the third act came, eradicating any potential it had to come back around and truly proving that Him has nothing to say. AMARÚ Him has everything necessary for a harrowing tale about athlete commoditization and the dangerous sacrifices of obsession. Director Justin Tipping’s visuals are hauntingly captivating, and Marlon Wayans’ mad-eyed intensity is perfect as the wayward mentor to Tyriq Withers’ doe-eyed naivety. You can see greatness in individual scenes, but the screenplay lacks absolutely any amount of tension. Instead of the ebbs and flows of a full-fledged story with rising actions climaxing to an anxiety alleviating resolution, it’s an outline of spectacle put on film. Montages, music, and motivational phrases aren’t enough to capture audiences’ attention. They’re only enough to waste the potential of this film’s talent.

STRANGE WAY OF LIFE Starring: Ethan Hawke and Pedro Pascal Director: Pedro Almodóvar NICK At only 31 minutes, Strange Way of Life feels like the prologue to a longer story. Both Ethan Hawke and Pedro Pascal provide instantly interesting characters, but they’re never given the chance at deep exploration. Their passion is often relegated to longing looks and helpless pleas that feel like they’re bubbling towards the climax of a full-length feature film that never comes. Although the story may fall short, Pedro Almodóvar’s direction suits the Western genre wonderfully, and he handles this queer love story with care. Considering the cast and scope, I understand why this was made as a short film, but it’s an incomplete tale. AMARÚ Having never seen a Pedro Almodóvar film, I’m not sure if Strange Way of Life is an accurate representation of his work, but if his full-length features are anything like the 31-minute short, I’m going to start making a better effort at viewing his work because this short is tense and well-acted, with vigorous performances from Ethan Hawke and Pedro Pascal. Almodóvar is able to speak volumes about what one will do for love within the limited runtime, and with such an abrupt end, I’m very intrigued in seeing if he fills out the rest of this well-told tale. PAIGE Strange Way of Life is a melodramatic queer western that feels like a cologne commercial that’s trying to rip off Ang Lee’s Brokeback Mountain . While the performances from Ethan Hawke and Pedro Pascal are very nuanced and engaging, the true issue with this short film is that it tries to say too much in such a short amount of time. It would have benefited greatly if it was a feature, and to be honest, one of the few things that saved it from being a total miss was Pedro Pascal's bare ass. This film was reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.

PADDINGTON IN PERU Starring Ben Whishaw, Emily Mortimer, Madeleine Harris, Olivia Colman, Carla Tous, Samuel Joslin, Antonio Banderas, Hugh Bonneville, Julie Walters, Imelda Staunton, and Hayley Atwell Director: Dougal Wilson KATIE Paddington (Ben Whishaw) returns, but this time, he leaves London for the deep jungle of Peru. Paddington in Peru carries its predecessor's irresistible charm, light-hearted humour, and themes of kindness and acceptance, but feels more straightforward in terms of the story, focusing on action set pieces and impressive visuals. Olivia Colman is perfect as the saintly Reverend Mother, and she made me laugh whenever she was on screen. Antonio Banderas seems to revel his role as the roguish captain Cabot, as well. It may not be the strongest in the trilogy, but Paddington in Peru is still one of the best family films I’ve seen in years. ADRIANO Devastatingly, Paddington In Peru is a massive step down from the previous installments. The film still boasts the charm you can come to expect from the marmalade-loving bear; he's still an easy protagonist to root for. However, previous director Paul King’s absence is sorely felt. It's visually lacking, the storytelling is a lot more disjointed, and emotionally, even at its most heartwarming, none of it felt earned. There's a moment where a character tells Paddington (Ben Whishaw) that he "found himself" and I asked myself "when?" Following up the last two films was always a high task, but this doesn't come close. ROBERT Paddington (Ben Whishaw) on a jungle adventure? How could you not love it? If you expect the same level of craftsmanship and storytelling in Paddington in Peru as the first two films, you will be disappointed. However, it is still a worthy third entry despite how much it made me think of Jungle Cruise as I watched it. Olivia Colman continues to parlay her post-Oscar career into playing a quirky and dry-witted character with hidden intentions, and Antonio Banderas chews up scenery as “Captain Cabot” a.k.a. Puss in Boots in human form. Even with its shortcomings, Paddington in Peru finds ways to ooze irresistible charm. AMARÚ I love myself a good, cheeky, family film, and adding masters-in-cheek Olivia Colman and Antonio Banderas to Paddington in Peru ’s delightful returning cast provides childlike shenanigans and adult-like themes for the whole family to enjoy. Watching Colman and Julie Walters chew scenery together is just one of the many perks of having a dedicated ensemble that delivers comforting warmth, beautiful ridiculousness, and ear-to-ear grins. They guide you through a foreseeable adventure, saying, “we know you know what’s coming, but watch how much you love getting there.” But, man, does that not sum up the warm hug this franchise continues to deliver. BODE I went into Paddington in Peru nervous, but still open to what a third movie in this franchise would be like without previous director Paul King at the helm. While King’s absence is - for the most part - felt, the new creative team (led by first-time feature director Dougal Wilson) do enough to retain the innate charm and sweetness that has defined the series, even with a wobblier story. Olivia Colman and Antonio Banderas are fun new additions alongside its great returning cast (sans Sally Hawkins, though Emily Mortimer proves she’s a worthy replacement). This third entry may be flawed, but it’s still an endearing time.

THE LAST DUEL Starring: Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck Director: Ridley Scott JACOB There's not much in The Last Duel that sets it apart from other narratives like it, but enough of it works that it remains worth one's time. The Rashomon -style perspective shifts may allow the audience to see each side of the story, but it also means the film takes too much time away from moving the plot forward in order to recap things we already saw, making it feel sometimes painfully long. That said, the performances mostly work well (especially Jodie Comer), and the titular fight is a brutal battle that effectively demonstrates Ridley Scott still has immense directorial skill. ADRIANO I expected to hate The Last Duel , but it ended up being far better than expected. The way the story unfolds through a multi-chapter setup works much better than I thought it would. Granted, the first chapter is incredibly boring and atrociously edited, but the second and especially third chapters are extremely engaging. The film's subject matter is effortlessly dealt with in a way that connects it to modern times. The cast is great, but it's Jodie Comer who is absolutely superb in the last chapter, which features the impressive feat of the titular duel. Definitely check this one out. QUENTIN Given the number of medieval epics Ridley Scott has directed, you’d think he’d be better at it. Unfortunately, aside from the actual duel, The Last Duel is a lengthy bore. It’s over two hours of “he said, he said, she said” (told as three separate chapters) before the exciting 15-minute showdown. And since those chapters are mostly recounting the same events from different perspectives, it makes much of the film feel like a retread of scenes you’ve already seen. That ending duel is violent and visceral, though. The movie needed more of that and less talk of 12th century litigation.

RED ONE Starring: Dwayne Johnson, Chris Evans, J.K. Simmons, Lucy Liu, Kristofer Hivju, Bonnie Hunt, and Kiernan Shipka Director: Jake Kasdan ADRIANO I think the thing constantly ruining Dwayne Johnson movies is his absolute lack of a sense of humour, and Red On e, a terrible holiday action-comedy, takes itself so numbingly seriously that it sucks out any fun it could've had. As an action movie, the movie looks ugly, and the set pieces are bland and horrifically thought-out. As a comedy, there's really only one joke being told throughout (Chris Evans' character loudly reacting to weird stuff). The only semblance of enjoyment I got out of this was simply because I love Christmas so much. Plain and simple: Red One is a disaster. AMARÚ Luckily, there’s a bit of heart in Red One between Dwayne Johnson and J.K. Simmons because the story is cliché, melodramatic, surface-level kid’s fodder. Luckily, the creature design and mythological lore is really cool, because the uncanny valley CGI made the saccharine levels rise to ridiculous heights. Luckily, Johnson and Chris Evans sometimes understood that silliness, and could play it to a charming tone, because the horrific villain was mustache-twirling levels of Power Rangers television cheese. Kids may like this, adults may tolerate it, and luckily, there’s just enough that’s watchable to get through unscathed. KATIE I felt I had to give Red One at least one reel, since I did laugh out loud a couple of times and Chris Evans hits all the right notes as the cynic with a heart of gold. There are also some serviceable action scenes, but, overall the visual effects are disastrous, the plot doesn’t make sense, and it overstays its welcome. I’m not sure who this is for, since it feels like a kid's film but is littered with bad language and crude jokes, which makes the empty sentimentality feel even more devoid of Christmas magic. PRESTON Before the critic within me gets to critiquing, it is important to remember what Red One is and who it’s for. Director Jake Kasdan’s unique take on Santa is, first and foremost, a children’s movie, even if the high use of language is confusing. He includes some cool historical figures in international folklore with Krampus (Kristofer Hivju) and Gryla (Kiernan Shipka). Dwayne Johnson and Chris Evans lead the film competently, but lack the back-and-forth chemistry that would have made it much more successful. Ultimately, Red One is a bland, but altogether entertaining Christmas film that won’t be entering the yearly Holiday movie rotation.

TETRIS Starring: Taron Egerton, Nikita Efremov, Toby Jones, Roger Allam, Anthony Boyle, Oleg Shtefanko, Sofia Lebedeva, Igor Grabuzov, and Ayane Nagabuchi Director: Jon S. Baird DARRYL Spearheaded by an electrifying performance from Taron Egerton, Tetris is a full-tilt blast of a film that absolutely captivates from start to finish. Jon S. Baird's clever and inventive direction, bolstered by Alwin H. Küchler's dynamic cinematography, creates a pot-boiling thriller with enough video game references sprinkled in to please any casual fan of a certain age. While likely closer to zero percent than a hundred in terms of accuracy, the movie nevertheless is a two-hour rollercoaster of moves and countermoves, deftly capturing the political tension of the 1980s. A must watch! QUENTIN While Tetris features a wild story and is an engaging watch, it’s a bit of a tonal mishmash. There are scenes of steely corporate intrigue and bleak, Cold War-era politics juxtaposed with a retro, 8-bit vibe that is inherently fun and silly. Those moments of silliness deflate the seriousness of the dangerous events occurring, which I guess is the point, but it causes a lot of whiplash. Still, even though some of the contract legalese about gaming rights can get a little confusing, Taron Egerton’s (mustachioed) performance and the overall tale is more than enough to make this an easy movie to recommend. AMARÚ Taron Egerton is doing something odd in Tetris . He has an infectious energy that is heightened by a weirdly annoying accent and cadence; the type of annoying that pokes and prods and doesn’t leave you alone until you agree to whatever craziness it’s spewing. That’s what this movie does. It quickly pulls you into a tense gambit of political intrigue, business machinations, and spy games that grabs your heart and keeps it racing non-stop. The story is expertly fashioned to make this unbelievable tale about one of the most famous video games in the world a crafty, stylized political thriller. Who knew? JOSEPH Tetris is one of those “so crazy it must be true” stories, and Apple has yet another hit on its hands…a hit that boasts one of Taron Egerton’s best performances. The transitions are sleek, employing a colorful use of stylish 8-bit that perfectly captures the aesthetic, and the synthy score only adds to it. It’s a fun ride that blends elements of The Founder and Argo while infusing them with a great deal of wit. If it were released during awards season, I wouldn’t be surprised to see Tetris snag some nominations. PAIGE Tetris is definitely worth hitting the play button on. While the film can feel a little silly and over the top at times, it works because of the fascinating tale being told about one of pop culture’s biggest games, a game we’ve all played and love. I promise you, if you love the classic game, you’ll be captivated by this somewhat humorous cloak-and-dagger thriller. Other than it feeling like a friendlier version of The Social Network , the film flourishes due to its fun and offbeat origin story and Taron Egerton’s energetic screen presence. ADRIANO Like the game, there’s something very infectious and lovable about Tetris . Maybe it’s Taron Egerton’s committed performance that you can’t help but fall for, maybe it’s the 8-bit style that gives the film an interesting edge - it’s hard to pick. Either way, I do wish the film’s tone reached the heights that the bonkers true story seems to deserve. I found myself constantly asking myself, “this didn’t happen, right?” Overall, it strikes a nice chord for someone like me, a viewer that loves to be entertained while I learn.

DIE MY LOVE Starring: Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, and Sissy Spacek Director: Lynne Ramsay NICK Die My Love and If I Had Legs I'd Kick You have many similarities. Both Jennifer Lawrence and Rose Byrne play grieving mothers, while directors Mary Bronstein and Lynne Ramsay each try to put you into the psyche of those mothers. Both films work, but If I Had Legs does it a little bit better. That said, Lawrence gives one of her best performances alongside a committed Robert Pattinson, all while Ramsay does a great job of intentionally unsettling her viewers. Unfortunately, besides those aspects, Die My Love struggles to pair Lawrence’s superb performance with a cohesive and compelling story. ADRIANO For a film as abrasive as Die My Love , it's no wonder writer/director Lynne Ramsey's latest takes its time to put everything together firmly. Thankfully, like the best works of art, I began to appreciate the film's depths the longer I sat with it. I admire the surreal filmmaking, the creative descent to madness on display, and Ramsey's risky but profound portrait of a relationship slowly withering away. It genuinely makes the audience engage with this type of psychosis in a visually remarkable way. Jennifer Lawrence and Robert Pattinson giving outstanding performances just make it even more outstanding. AMARÚ While I can’t deny it’s entertaining to watch Jennifer Lawrence and Robert Pattinson play unhinged, out-of-their-wits new parents, I honestly can’t tell you whether or not I enjoyed Die My Love ’s unfiltered look into postpartum. Lots of unpredictably random things happen, lots of mundane everyday things happen, and the entire time, both actors, but especially Lawrence, are digging into the most primal parts of themselves to give completely untethered performances. But it’s only because of them that I didn’t cut this off an hour in. Two less talented actors would’ve turned the unsettling “what the fuck” chuckles into a bunch of “I don’t give a damns.” BODE As a director, Lynne Ramsay has always tackled seemingly simple loglines in the most expressionistic ways, making them feel anything BUT simple. Her latest, Die My Love , finds her doing this to the point of abstraction. While I wouldn’t say that this is Ramsay at her strongest, I still found myself admiring how confidently fragmented this is in its depiction of how love can tear people apart (like Joy Division once proclaimed). It helps that Jennifer Lawrence and Robert Pattinson keep things interesting with their deeply raw performances. Pair it with If I Had Legs I’d Kick You for a bracing double feature.