SALEM'S LOT Starring: Lewis Pullman, Jordan Preston Carter, Bill Camp, Alfre Woodard, Makenzie Leigh, Pilou Asbæk, and Alexander Ward Director: Gary Dauberman PAIGE There's no denying that this Salem's Lot remake has a spooky atmosphere and an old-school, Stephen King vibe, but you can definitely tell that a significant amount of character development and substance were left on the cutting room floor. The main plot’s lack of a strong build-up ultimately results in a flimsy mystery. Lewis Pullman tries his best with what he is given as Ben Mears in this mediocre King adaptation, and the story at least allows Jordan Preston Carter to shine as the little badass Mark Petrie. However, while there may be some cool moments throughout the film, I much prefer Tobe Hooper's 1979 version. QUENTIN Since I had already seen two versions of Salem’s Lot (1979 and 2004), I didn’t need another adaptation. Plus, considering the glut of recent mediocre remakes and prequels to horror classics, especially of the straight-to-streaming variety, expectations were low. That said, I actually quite enjoyed this new version. It’s not amazing, of course, but it’s a sturdy, old-fashioned, 80s-style vampire movie. There is no hidden meaning, forced subtext, or unnecessarily gritty darkness; just a ragtag group of people fighting vampires with backpacks full of stakes and crosses. For those who grew up on The Lost Boys and Fright Night , this is a surprisingly nice throwback.

WE LIVE IN TIME Starring: Andrew Garfield and Florence Pugh Director: John Crowley ADRIANO It's entirely possible that timing with personal things that happened in my life recently played a part, but I fell for We Live in Time . I recognize its shortcomings, namely that it's predictable and the film's non-linear storytelling doesn't add anything. That said, director John Crowley and writer Nick Payne seem to have had sincere intentions in making this, as the movie isn't overly sappy. It’s never trying to get tears, and is much funnier than you'd think. Plus, Andrew Garfield and Florence Pugh's chemistry and charm add a lot, making this a lovely film, warts and all. PAIGE We Live in Time is a sweet and charming romantic flick that will pull at your heartstrings. The movie has a somewhat basic plot, but it does a wonderful job of exploring its theme of choosing to live life to the fullest for however long we have through the use of a nonlinear format, which is quite beautiful. Florence Pugh and Andrew Garfield also have such fiery chemistry together that it makes their characters feel incredibly authentic and endearing. Even though We Live in Time is a somewhat generic movie, it is a beautiful love story that you will fall head over heels for. AMARÚ Many recent films have been utilizing nonlinear narratives, with most faltering when their not-so-airtight scripts tell singular stories. Luckily, We Live in Time is more about life as a whole than a particular journey, highlighting that when you focus on the present time, the journey (and movie) you end up with turns out to be quite lovely. Florence Pugh and Andrew Garfield have natural chemistry, enhancing a truly heartfelt screenplay that makes you laugh, cry, and delightfully melt. Their endearing nature and John Crowley’s honest direction makes for a sorrowfully earnest romantic comedy that, rather than feeling emotionally manipulative, genuinely earns your tears. KATIE We Live in Time played me like a fiddle. Andrew Garfield and Florence Pugh’s genuine chemistry imbues their romance with authenticity, and the inevitable conclusion established by the non-linear storytelling enhances the message of living life to the fullest and truly being present to make the most of the limited time we have with our loved ones. It's both deeply moving and surprisingly full of humour, featuring one of the best birth scenes I’ve ever seen, and presents an uplifting way of coping with grief. Plus, it's hard for me not to love a film featuring both of my favourite biscuits. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HOLLAND Starring: Nicole Kidman, Matthew Macfadyen, Jude Hill, Rachel Sennott, and Gael García Bernal Director: Mimi Cave BODE It’s admirable that Nicole Kidman is still taking risks decades into her career, both as an actor and a producer. Sometimes, they pay off. Other times, they don’t. Unfortunately, Holland slots right into the latter. While director Mimi Cave certainly has style to spare (helped in part by Pawel Pogorzelski’s lensing), it’s all in service of a slapdash script that fails to establish stakes, tension or actual characters, so much so that Kidman and co-stars Matthew Macfadyen and Gael García Bernal seem lost throughout. Even with a bloody finale, Holland still ends up feeling like a waste of time. KATIE Holland feels like familiar ground for Nicole Kidman, but even her pitch-perfect performance isn't enough to inject the excitement needed for the film to work. It immediately establishes themes of artifice and the suffocating life of the perfect wife and mother, but it never goes far enough in terms of thrills or exploring the unnervingly conformist town. Gael García Bernal’s character Dave raises concerns about the tensions that exist in a mostly white community that co-opts colonial European values, but this idea is unfortunately never fully realised. Although the cast and cinematography are fantastic, Holland isn't subversive enough to succeed. ROBERT How many more “underlying darkness in seemingly perfect Middle America town-type” stories can be told? Apparently, at least one more, as Holland now graces Amazon Prime. Very early on, without advanced knowledge, I was expecting death and blood to wash over the central idea of the film before it was even hinted, so fortunately, they didn’t disappoint there. However, even with Nicole Kidman playing the part of over-her-head housewife trying to unravel the mystery of her husband’s doings, and Matthew Macfadyen dusting off his Tom Wambsgans’ overcoat for another go, the movie couldn’t plug the dyke to prevent my boredom from overflowing. BRYAN Nicole Kidman is one of those actors that is impossible to hate, even when she’s a part of something as horrifically putrid as Holland . Mimi Cave's sophomore outing is a massive downgrade from her excellent debut, showcasing a thriller without any thrill, and an incredibly meandering approach. This wants to be a Coen Brothers joint so badly, yet it plays out like a parody while treating everything with the utmost seriousness. If one wants to talk about promising projects that completely fumbled the bag, this is easily one of them. Thankfully, it was dumped straight to streaming and no one will watch.

MOVING ON Starring: Jane Fonda, Lily Tomlin, Malcolm McDowell, Richard Roundtree, Sarah Burns, Marcel Nahapetian Director: Paul Weitz NICK Although I haven’t seen Grace and Frankie , I knew of the chemistry between Jane Fonda and Lily Tomlin going into Moving On . As delightful as they are together, it’s the stories within the stories where the film really thrives. There are tales of revenge, tales of love, and tales of loss; sometimes they even intersect. It tackles some sensitive subject matter at times, but always makes a point to handle it in a delicate manner. Moving On is one part Grumpy Old Men and one part 9 to 5 , and while it may not be revolutionary, they hired the right women for the job. JACOB Moving On is what you get when you have several themes in a script but try to put them all together without prioritizing what story you’re telling. That phrasing may sound harsher than I ultimately am on the film, but it is by far its biggest problem. Luckily, that problem doesn’t totally sink this surprisingly decent time, even if Jane Fonda’s character is far less engaging than Lily Tomlin’s, who is the real star here. It’s her scenes that keep the film afloat with ace comic timing and one thoroughly underexplored subplot. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

FIVE NIGHTS AT FREDDY'S 2 Starring: Josh Hutcherson, Piper Rubio, Elizabeth Lail, Matthew Lillard, Freddy Carter, Wayne Knight, Mckenna Grace, and Skeet Ulrich Director: Emma Tammi ROBERT A movie being bad does not preclude it from being entertaining, but if it meanders without much to say — or is just set up for a future film — it commits a mortal sin of cinematics. Five Nights at Freddy’s 2 should be cast into the seventh circle of movie Hell as it hits every pain point. I think the first film is engaging for a PG-13 horror effort, and it had real stakes for the characters. This one is poorly acted, terribly scripted, and had me asking silly logistical questions throughout instead of holding my focus to the action. Please, no more nights at Freddy’s. ADRIANO This feels like low-hanging fruit, but Five Nights at Freddy's 2 is such an embarrassment. Like the first film, it's a hollow joke of a horror film with no tension or narrative cohesion. Now, if you're a long-time fan of the games and you love hearing the names you already know, then have at it, because that's all you get as it ditches the easy-to-adapt terror of the games for nonsense. These are horror films designed for children at the end of the day, and if the non-ending cliffhanger is any indication, we may have to suffer through more of these disasters.

HOKUM Starring: Adam Scott, Peter Coonan, David Wilmot, Michael Patric, Will O’Connell, Florence Ordesh, Brendan Conroy, Mallory Adams, and Austin Amelio Director: Damian McCarthy NICK The one thing that really sticks out in director Damian McCarthy’s films is his ability to create a genuinely eerie atmosphere. Hokum is no different. Although McCarthy relies a little heavily on traditional jump scares here, he blends Irish folklore into his haunted house tale in a way that enhances the story. It also helps that Adam Scott's brand of “unlikable yet accessible to root for” is just what this story calls for. Hokum doesn’t reach the heights of McCarthy’s previous work, but it's a solid film that makes for the perfect rainy night ghost story. ROBERT What if Stephen King were trapped in one of his own novellas, and the only way out was an introspective look at his past and damaged psyche? That is the vibe Hokum set for me, which was reminiscent of Secret Window in a way, another Stephen King inspiration. The smallness and intimacy of the settings and the story don’t lend themselves to heart-attack-inducing moments, but they do ratchet up the unease and make you question everything you are seeing. This harkens back to a timelessness of suspense, where it could belong to any era, and it oozes creepiness and vulnerability… anything but hokum. KATIE Hokum is a deeply creepy, supernatural folk horror film driven by a compelling story. It’s full of effective jump scares that aren't cheap, but well-crafted and reliant on steadily and meticulously building tension and suspense. It makes excellent use of the secluded setting and confines of the hotel, and the cinematography grips your attention to solidify our point of view with the protagonist, leaving the audience as nerve-wracked as he is. Plus, Adam Scott is wonderfully unlikeable and convincing in the central role as the cynical alcoholic writer, Ohm, but also conveys the trauma that is barely concealed under the surface. ADRIANO Hokum is so off-putting, and not in the way it strives for. Writer/director Damian McCarthy clearly wants to make a film akin to the modern definition of “elevated horror”, but despite introducing folklore and themes of grief, it becomes a basic horror movie. All the tension results in a jump scare fest, and everything that happens all culminates in an ending that seems to intentionally pants itself. Now, am I saying Hokum ’s bad? No. It’s well-made, there is some good tension building, and the story is interesting. But it does not hit the heights it aims for.

BUFFET INFINITY Starring: Kevin Singh, Claire Theobold, and Donovan Workun Director: Simon Glassman This film has been reviewed by Quentin, Bode, and Nick as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Harkening back to the days before streaming services, Buffet Infinity does the channel surfing for you. The parade of low budget television ads are entertaining at first but eventually become quite repetitive - outside of the battle for ad space between Buffet Infinity and Jenny’s Sandwich Shop. While I respect the craftsmanship and the difficulty in putting this all together, it just didn’t need to have a feature runtime. The original idea came from a YouTube skit and turning this into a 20-or-so minute short would have been the ideal way to expand it. QUENTIN I respect artists who have an experimental vision and the dedication to see it through. That is where my praise for director Simon Glassman’s Buffet Infinity ends. FYI, this isn’t a movie in the traditional sense. Sure, it’s 99 minutes long, but it’s composed entirely of cheap local commercials that mostly run under a minute. Given that approach, it quickly becomes incredibly tedious and repetitive because there aren’t any characters or story to invest in. Glassman created Infinity Buffet as a 30-second YouTube clip at the beginning of COVID, and it definitely feels like the out-of-control creation of someone trying to hold it together during lockdown. BODE I believe that a movie should be however long as the filmmaker wants it to be. But there’s just no denying whenever you feel a film is overlong, and Simon Glassman’s directorial debut Buffet Infinity is a prime example of this. While the concept of an alien invasion tale told exclusively through low-budget commercials is certainly admirable, it’s clearly better suited for a 30-minute short (ideally watched on Adult Swim) and not a 100-minute feature. The longer it went on, the more its absurdist charm dissipated, leaving this experiment fizzling as a result. Protect Ahmed at all costs though.

IMMACULATE Starring: Sydney Sweeney, Álvaro Morte, Benedetta Porcaroli, Dora Romano, Giorgio Colangeli, and Simona Tabasco Director: Michael Mohan KATIE I absolutely loved Immaculate . It gave me far more than I signed up for in the best way possible, and as well as looking fantastic, the tone strikes a perfect balance between shlocky body horror, creepy atmosphere, bloody violence, and genuine scares. It also has some impactful and timely themes, exploring the idea of patriarchal forces attempting to control and claim ownership over women’s bodies, as well as the deluded justifications for it imposed by religious fanaticism. Sydney Sweeney’s performance as Sister Cecilia is phenomenal, and the jaw-dropping final sequence is already one of my favourite horror moments of this year. ADRIANO I enjoyed the insanity of Immaculate much more than I thought I would. I'm not saying it's great; it's not. The film mostly relies on cheap scare tactics and gore that lessen the impact during the more genuinely tense scenes, and the film's eerie atmosphere is weakened by the opening sequence. What's more, the film's stance on religion boils down to nothing interesting. However, I can't deny the film's enjoyment factor when it hits some truly insane peaks. Sydney Sweeney is great, and the final shot is genuinely terrific. As imperfect as it is, I'm really glad I watched Immaculate . NICK I recently saw The First Omen , and while I wasn’t a fan, that movie is light-years better than Immaculate . Aside from a fine yet unremarkable performance from Sydney Sweeney, there’s nothing I really enjoyed here. The film is visually dark and drab, the effects are sub-par, the supporting performances do nothing to stand out, and, overall, the movie just goes through the motions. As there are very similar story beats, I’m curious how people who have seen both this and The First Omen compare the two films because, for me, this actually led to me retroactively enjoying Omen more.

INDIANA JONES AND THE DIAL OF DESTINY Starring: Harrison Ford, Phoebe Waller-Bridge, Mads Mikkelsen, Boyd Holbrook, John Rhys-Davies, Ethann Bergua-Isidore, Toby Jones, and Antonio Banderas Director: James Mangold NICK I’ll answer the biggest question first: The Dial of Destiny is drastically better than The Kingdom of the Crystal Skull. Harrison Ford returns, continuing his current streak of being fully committed in his roles; Phoebe Waller-Bridge's Helena fits like a glove; and director James Mangold understood the assignment by creating a film true to the iconic franchise. The reliance on de-aging technology lets the film down a little - the technology just isn't there yet – but it’s mainly only used in an otherwise terrific prologue. Overall, though, this is how the story should end: a fun adventure that’s a fitting farewell to Dr. Henry Jones Jr (Ford). ADRIANO It’s with a heavy heart that I have to say I found The Dial of Destiny dull. Don’t get me wrong, the fun adventure is there, but beyond the first 20 minutes (easily the best part), it’s lifeless, partly due to James Mangold’s direction feeling like the bare minimum. Harrison Ford isn’t phoning it in, and Phoebe Waller-Bridge is a welcome addition to the franchise, but Mads Mikkelsen makes for a fairly boring villain. Plus, even by Indiana Jones ‘ standards, the final act is way too silly. It’s not a bad movie, but it is a disappointing one. AMARÚ The Dial of Destiny is a nice return to form for the Indiana Jones franchise. James Mangold directs some dynamic action set pieces, and John Williams’ score moves the plot forward much more excitingly than the history-laden dialogue. Old Man Indy is just as angry as the real-life Harrison Ford, so the actor’s grouchy disposition works well, especially when pitted against an enigmatic Phoebe Waller-Bridge (Helena) and a menacing Mads Mikkelsen (Voller). Although 20 minutes too long, Dial will put a smile on your face as the adventure injects a freshness to the once thought-to-be-dead franchise. QUENTIN While The Dial of Destiny recaptures the classic Indy vibe, that’s mostly because it plays like an homage to director James Mangold’s favorite parts of the franchise (fan service included). Voller (Mads Mikkelsen) would be right at home in Raiders of the Lost Ark , Teddy (Ethann Bergua-Isidore) is the new Short Round (Ke Huy Quan), and the “tomb diving” is very reminiscent of The Last Crusade . It’s perfectly entertaining, but since it all feels done before, it lacks that special spark. Overall, it ranks fourth in the series; leaps and bounds better than Kingdom of the Crystal Skull , but not as good as Temple of Doom . PAIGE Although The Dial of Destiny may not measure up to Steven Spielberg’s original trilogy, director James Mangold does manage to maintain the spirit and thrilling action beats with this new and bold installment. It’s an exhilarating epic and a proper final entry to this franchise. Hats off to Harrison Ford for delivering a great last run as the iconic character, but it’s Phoebe Waller-Bridge who steals the show this time around. That said, while it’s certainly an entertaining sendoff for the beloved adventurer, the film is far from perfect, most notably having a long and sluggish runtime. JACOB As Indiana Jones movies go, The Dial of Destiny is hardly the worst of them, but its elevated status above Kingdom of the Crystal Skull doesn’t go quite high enough to register it as genuinely good. Between a series of overly repetitive chases and bouts of exposition, the flat digital photography fails to capture the magic of Spielberg’s original trilogy by making things look as if they’ve slowed to a crawl amid subpar VFX. Even Harrison Ford and Phoebe Waller-Bridge giving it a genuine go in their performances can’t save the adventure from being little more than an average fan-service romp.

THE WRONG GIRLS Starring: Kristen Stewart, Alia Shawkat, LaKeith Stanfield, Tony Hale, Zack Fox, Seth Rogen, Kumail Nanjiani, Kate McKinnon, and Geena Davis Director: Dylan Meyer BODE Cheech & Chong. Jay & Silent Bob. Harold & Kumar. Could Frankie (Kristen Stewart) & Molly (Alia Shawkat) be the next iconic stoner duo? The Wrong Girls doesn’t actually aim too high when it comes to making the case, though that’s more a byproduct of the film’s shaggy-dog nature. Even when it places the two characters in the middle of an international conspiracy plot, writer-director Dylan Meyer keeps things comfortably in a chill position. On those terms, it’s agreeably charming. Stewart and Shawkat’s fun chemistry, with help from composer Ty Segall’s pulsating score, do just enough to carry it across the finish line regardless of when it stumbles. PAIGE Even though Kristen Stewart, Alia Shawkat, and the supporting cast appear to be having a blast in The Wrong Girls , I couldn’t get behind this eccentric stoner comedy. While some jokes land, most of them are just silly stupid. The story doesn’t flow organically, and the pacing feels forced throughout. Don’t get me wrong, I love a good stoner comedy, but this over-the-top premise just fell flat for me. Maybe if I was under the influence while watching I would have vibed with it more. KATIE The Wrong Girls is a wholesome and wacky film with all the hallmarks of classic stoner comedies. Whilst the plot becomes secondary to the chaos, it’s driven by its rich and distinct aesthetic, creative visuals, and the heart-warming friendship between protagonists Molly (Alia Shawkat) and Frankie (Kristen Stewart). Their relationship feels authentic, their performances are fantastic, and it genuinely feels like the cast had a great time making this movie. Not every joke or set-piece lands, but the film’s scrappy nature and anarchic sensibility are undeniably charming. Plus, I relish any opportunity to see Stewart on screen. ADRIANO When it comes to comedy, if you make me laugh, then all is forgiven. When I don’t laugh (or at least not consistently), every other issue becomes more obvious. The Wrong Girls is insane, and I admire a comedy whose cast is fully committed to its anarchy, but the laughs are very sparse. Plus, the relationship at the centre didn't compel me enough despite Kristen Stewart and Alia Shawkat’s best efforts. Honestly, this movie is like a bad weed strain: you may enjoy yourself at first, but it wears off pretty quickly.

APARTMENT 7A Starring: Julia Garner, Dianne Wiest, Kevin McNally, and Jim Sturgess Director: Natalie Erika James PAIGE Despite Julia Garner's best efforts, Apartment 7A lacks the personality necessary to stand on its own two feet, as all the essential components that made Rosemary's Baby such an iconic classic are absent here. There is no real suspense or feeling of purpose in this so-called "horror" movie because of its sluggish pacing. To be honest, there isn't really a need for this prequel at all. Watch it for another good performance from Garner, but don’t expect this movie to live up to its predecessor. QUENTIN After Apartment 7A , I think I’m about done with the recent trend of middling horror prequels coasting on the coattails of the classic IP. Since last year, we’ve seen unremarkable prequels to The Omen , Pet Sematary , and The Exorcist ; now we have one for Rosemary’s Baby . The weird thing is, even if it fills in some blanks from the original, it’s mostly a remake packaged as a prequel, which means it doesn’t really offer anything new. On top of that, it’s simply not scary or suspenseful. Julia Garner tries to elevate the material best she can, but material this weak can only be elevated so much. KATIE Apartment 7A undertakes the impossible task of living up to Rosemary’s Baby , but fails to add anything worthwhile to the story. Julia Garner’s performance is engaging, and the film touches upon potentially interesting themes of abortion and trauma, but the topics could have been explored more freely if not limited by its prequel status and reliance on references to the original film. Plus, outside of some compelling dream sequences, Apartment 7A is a far cry from the creepy brilliance of Natalie Erika James’ debut feature Relic , which is one of my favourite horror films. This film was reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of Fantastic Fest 2024.

JOHN WICK: CHAPTER FOUR Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Lance Reddick, Ian McShane, Shamier Anderson, and Hiroyuki Sanada Director: Chad Stahelski NICK With this being the fourth entry in the franchise, you know what you're going to get from a John Wick film: minimal, almost robotic dialogue from Keanu Reeves, top-notch fight choreography, and a high body count. Bingo. Beyond that, you get the series’ best cinematography yet (including some incredible aerial and tracking shots) and a magnetic performance from Donnie Yen. The build-up is a little slow (yet deliberate), but once it kicks into gear, it’s a non-stop barrage of exceptionally high-octane action. Add in some jaw-dropping set pieces, and there’s no doubt, The Baba Yaga is back. JACOB If you’re a fan of the John Wick franchise, Chapter 4 is more than enough of what you want. The stunt work, cinematography, and sheer number of action sequences keeping the film feeling like two hours (as opposed to three) are likely to thrill audiences looking for an entertaining time in theaters. That said, the film does have its drawback: namely, there’s less story here than in any previous films, and it does overindulge itself on the action quite a bit, with some sequences long overstaying their welcome. Still, those sequences are flawlessly choreographed, and Keanu Reeves remains impossibly watchable. AMARÚ Laurence Fishburne perfectly encapsulates Chapter 4 two minutes into the film, proclaiming that “you are now in the presence of the motherf*****g KING.” The action, cinematography, and world-building are the series’ most epic, and the supporting cast (Clancy Brown, Shamier Anderson, Hiroyuki Sanada, Bill Skarsgard) bring the best balance of badassery and emotional resonance since the original. But it’s Donnie Yen that’s the MVP, forgoing the strong, silent archetype for his most charming stateside performance since Rogue One . Pairing Yen and this cast with Keanu Reeves’ titular character delivers the pinnacle example of this action genre royalty. QUENTIN If all you want from a John Wick movie is over-choreographed, neon-soaked gunfights with hordes of faceless henchmen, Chapter 4 more than delivers. It’s action-packed and entertaining, if not a bit exhausting. That said, I would have liked to see director Chad Stahelski take a creative step forward instead of just giving us more of the same. Donnie Yen adds some interesting spice as a blind badass, and there is an overhead tracking shot that might be the best sequence of the franchise, but some creative kills with outside the box weaponry, as well as a truly formidable antagonist, could have made for a better film. ADRIANO The John Wick franchise is a special one that has elevated the action genre to whole new levels, and even still, Chapter 4 is leaps and bounds better than the first three films. Storytelling isn’t anything to write home about other than the way they deepen the universe’s mythology, but the action sequences are mind blowing. The choreography is insane, incorporating techniques that feel like nothing I’ve seen before, and every single moment of this movie is shot incredibly by cinematographer Dan Lausten. If this is the standard the franchise now has to live up to, I can’t wait for what’s to come. DARRYL Chapter 4 not only makes for the best entry in the franchise thus far, but one of the best action movies of the last decade. Director Chad Stahelski's dedication to the genre pays off, as he delivers a nonstop thrill ride that will leave audiences just as exhausted as the character. Keanu Reeves once again brings a touch of heart to John Wick, making it impossible for viewers not to root for him as he scrapes to survive every known assassin in the world. With a number of dynamite action scenes set on lavishly produced sets, this is a must see on the biggest screen. PAIGE Chapter 4 is a masterclass in how a kickass action flick should be executed. The team behind the film delivers flawless stunt choreography, stunning camera work, and breathtaking cinematography. While it may not have the strongest story of the franchise, there's no denying that this installment is an exhilarating thrill ride from beginning to end with an exponential death count. I admit it’s a tad bit long with a nearly 3-hour runtime, but it makes use of it with massive action set pieces and incredible fight sequences. I’m honestly convinced that Keanu Reeves isn’t even an actor anymore, but an actual certified badass assassin.