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BLACK BAG Starring: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan Director: Steven Soderbergh ADRIANO Who's Afraid of Virginia Woolf? but with spies? Yeah, bring it on, because Black Bag is pretty great. Director Steven Soderbergh is very hit or miss for me, especially as of late, but I can safely say this is my favourite of his in quite some time. Granted, some of the grand espionage stuff lost my interest at times, but when the film focuses on its personality-driven domestic storylines with its cast of very interesting characters, I was completely locked in. Dialogue is the film's weapon, not action or spy gadgets, and Soderbergh's deft hand drives it to whole new heights. PAIGE Black Bag is Steven Soderbergh‘s version of Mr. & Mrs. Smith , offering a unique perspective of the spy genre by focusing on the character’s personal dynamics rather than high-stakes action. However, despite its sleek and suave appearance, this espionage film is often dull and lacking in tension. It may be a tight mystery thriller, but it needed more substance to paint a clearer picture of the overall story we're thrown into. There just wasn’t much to rope me into the story besides Michael Fassbender’s and Cate Blanchett’s performances. QUENTIN Following up the very good supernatural drama Presence with espionage thriller Black Bag might prove that director Steven Soderbergh is back because Bag is easily his best movie since Ocean’s Eleven . An action-free affair, which might sound boring but is anything but, this is a tense and taut movie for grown-ups that is built on tremendous performances, precise dialogue, and well-played reveals. In many ways, it’s like Soderbergh blended Tinker Tailor Soldier Spy with the Ocean’s franchise, with the impeccable score especially recalling the well-loved heist movies. Plus, with a brisk 90-minute runtime, it never overstays its welcome like the laborious Tinker . Great movie. NICK Although he has had a successful career, the recent works of director Steven Soderbergh have been a mixed bag (no pun intended). He may be back, though, as he takes what looked like an obvious Mr. & Mrs. Smith -style film and presents something far more interesting. It's a beautifully filmed, well-acted, and expertly written story that will genuinely keep you guessing throughout. Although not overtly crass or sexual, this is an "adult film" thanks to a maturity rarely seen. It can find levity in its laughs and romance, but they’re sprinkled throughout tension you could cut with a knife. BRYAN One thing to commend director Steven Soderbergh for is his eclectic range as a storyteller, especially with Black Bag , a tribute to the classic spy espionage thrillers of the 1970s. Cate Blanchett and Michael Fassbender headline the sexiest and most ferocious ensemble of the year thus far, and while there are plenty of tension-filled moments, I was left at a distance by the end. I love a breezy 90-minute runtime, but all the resolutions come too quickly, resulting in everything feeling rushed in the long haul. I'm very down-the-middle on this one, but it’s one I’m craving to rewatch. BODE Throughout his career, director Steven Soderbergh has displayed a masterful knack of finding new ways of exploring themes and genres he’s fascinated with. He does so again with his latest, Black Bag , where the world of espionage (which he once tackled in 2011’s Haywire ) is used as a backdrop to comment once more on the complicated relationship between love and honesty (which he first examined in 1989’s Sex, Lies, and Videotape ). The results are thrilling, thanks to David Koepp’s tight script, a sensational ensemble and, as always, Soderbergh’s sleek technical craft. As the kids say, we’re so back.

HURRY UP TOMORROW Starring: Abel Tesfaye, Jenna Ortega, and Barry Keoghan Director: Trey Edward Shults ADRIANO After his performance in The Idol was destroyed, you'd think Abel Tesfaye would try to evolve; however, judging by the ego-fueled vanity project that he co-wrote, Hurry Up Tomorrow , he learned nothing. He's just awful, especially against Jenna Ortega, who's actually quite good. His performance aside, Tesfaye's narcissistic fingerprints are all over this, playing with psychedelic imagery and genre turns that feel purposeless and at odds with director Trey Edward Shults' previous use of those techniques. It feels like it exists mostly to sell an album, but also to fuel a self-image hidden by phony self-reflection. It's simply terrible. BODE On his album Hurry Up Tomorrow , Abel Tesfaye attempts to retire his alter ego, The Weeknd, for good, reflecting on his own fame, pain, and healing through vulnerable lyrics and blockbuster production. It’s effective, if a tad bloated. The same can’t be said about its companion film, where director Trey Edward Shults’ technical artistry can’t distract from its failure to add more context to its themes, especially when it devolves into Gen-Z Misery (with Jenna Ortega as an Annie Wilkes-type). It’s not a total dumpster fire, but I don’t think that even the most hardcore Weeknd fan will get much out of it.

TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM Starring: Nicolas Cantu, Brady Noon, Micah Abbey, Shamon Brown Jr., Ayo Edebiri, Jackie Chan, Ice Cube, Seth Rogen, John Cena, Maya Rudolph, Paul Rudd, Giancarlo Esposito, Rose Byrne, Natasia Demetriou, Austin Post, and Hannibal Buress Directors: Jeff Rowe and Kyler Spears AMARÚ The Into the Spider-Verse affect is on full display with Mutant Mayhem and it’s beautiful. From its unique animation style to pitch perfect music choices, Mayhem utilizes the Spidey films’ groundbreaking aesthetics without feeling like a knockoff. The star-studded voice cast is led by the charming dynamic of an actual teenage foursome (Nicolas Cantu, Brady Noon, Micah Abbey, Shamon Brown Jr.) and Ayo Edebiri as April O’Neil, creating heartfelt characters and a story from which every other aspect shines. The action, humor, and character motivations feel fresh while still paying homage, easily making this the best TMNT movie to date. ADRIANO As a lifelong TMNT fan, I feel comfortable saying that Mutant Mayhem is the best movie of the franchise yet. Is the story perfect? No. It’s pretty familiar, honestly. But thankfully, the movie has plenty to make up for it. Obviously, the animation is tremendous. But the movie also is funny, and the cast is great, namely the leads (Nicolas Cantu, Brady Noon, Micah Abbey, and Shamon Brown Jr.); however, what really elevates it is the amount of heart it has. It has a clear message that is executed in such a heartwarming way that I was smiling as I exited the theater. CALEB Mutant Mayhem is a fantastic return to form for the Ninja Turtles. The film's teenage leads (Nicolas Cantu, Brady Noon, Micah Abbey, Shamon Brown Jr.) are undeniably charismatic, lending these brothers more chemistry than they’ve ever had before. Although the Turtles shine, I found the extended cast to be rather undeveloped. The villainous Superfly (Ice Cube) and his fellow mutants feel more like voice actor cameos than actual characters. Thankfully, the narrative packs enough of a punch to succeed despite its villain problem, delivering an entertaining and stylish new direction for the franchise that truly understands the youthful appeal of these characters. QUENTIN As a 42-year-old dude who grew up on TMNT (I had the action figures and everything!), it’s hard to tell where my views as a movie lover separate from the pure nostalgia of it all, but either way, I had a damn good time with Mutant Mayhem . The coming-of-age story about acceptance is nothing new, recycling themes from 2000’s X-Men , but the TMNT -ness of it is quite subversive and full of great callbacks to the franchise’s history, even as they refresh the origin story. With a tremendous hip-hop soundtrack, a scene-stealing Jackie Chan as Splinter, and Into the Spider-Verse -level animation, this one is a winner. PRESTON Mutant Mayhem is exactly what you might expect from a movie co-written and produced by Seth Rogen. Taking advantage of low-hanging fruit, some of the humor is pedestrian and outplayed, while the Into the Spider-Verse -inspired animation may not be for everyone. Having set that stage… I thoroughly enjoyed it. As a Ninja Turtle -phile, I think the movie does justice to the original story and characters from the comic book and cartoon while still remaining fresh. The voice acting is on point, the soundtrack is next level, and I smiled all the way through this rendition that doesn’t take itself too seriously. Cowabunga! PHILL Mutant Mayhem is the first film of the franchise to take a swing and try something different with the world of TMNT. This is especially true because of the younger iterations of its titular heroes that focus less on the ninja characteristics and more on family. Splinter (Jackie Chan) is no longer master; he is just dad to four motor-mouthed, rebellious, and cringey teenagers that happen to be turtles. Overall, the comedy mostly lands, and the animation is a delight, creating Teenage Mutant Ninja Turtles for a new generation of fans. Older TMNT fans will likely enjoy the fresh take too. JACOB As a relative newcomer to the TMNT world, I wasn’t quite sure what to expect when it came to the group’s newest adventures in Mutant Mayhem . That said, I do love animation, and this marks yet another win for the medium in 2023. The film very much feels like something made for today’s youth without simultaneously feeling cynical or condescending, and the art style – while certainly inspired by the Spider-Verse films – feels distinctly its own. Narratively, the film isn’t exactly the singing triumph it could be, but the comedy feels appropriately tailored, and the voice cast all do solid work. PAIGE Cowabunga, dudes! Mutant Mayhem is a total blast. This flick is definitely targeted towards a younger audience, which means the plot plays it safe at times, but it’s still filled with fun for everyone to enjoy. The sketch-like animation is stellar, and allowing the voice cast to record in the same space together really paid off because the chemistry between these turtles radiates on screen. While Mutant Mayhem may not be my favorite TMNT film, it’s still a delightful new installment that everyone should go see with their families.

A COMPLETE UNKNOWN Starring: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holdbrook, and Scoot McNairy Director: James Mangold AMARÚ A Complete Unknown is a solid enough movie filmed by a damn good director in James Mangold, who captures the essence of 1960s New York and the fighting spirit of the decade’s folk movement. Through his vision, the cast effortlessly fills their gigantic subjects’ shoes, especially Timothée Chalamet who absolutely disappears into the role of Bob Dylan. Even more impressive is that, considering there’s probably more performances than dialogue, Chalamet sings each song himself. His acting and singing talent, Edward Norton’s great supporting performance, and Dylan’s wonderfully descriptive lyrics allow this concert movie to tell an entertaining story, if not a wholly in-depth one. ADRIANO If you want an introspective look at Bob Dylan that gives the artist an enigmatic aura while still feeling the weight of his influence, watch I'm Not There . Otherwise, you’ve got A Complete Unknown , a movie with a hypnotic performance from Timothée Chalamet as Dylan, but also a bland story filled with both compelling concert sequences and undefined character motivations. I understand the concept of shrouding Dylan in mystery, but this film's storytelling feels distant, insisting on his importance to music history without having a faint idea as to why. It could've been worse, but I'll never see this again. NICK A Complete Unknown is a terrific example of great performance not being the same as a great film. In fact, I'd argue there are two great performances, Timothée Chalamet (Bob Dylan) and Monica Barbaro (Joan Baez). It's the film they're featured in that leaves much to be desired. Aside from some excellent musical performances, the story of Dylan is distant and cold with many of the supporting characters' motivations untold. Perhaps this mirrors the man, but when your protagonist comes off as more of a jerk than a rebel, it doesn't make for a lead you can get behind. PRESTON I have to admit that I didn’t know very much about Bob Dylan (Timothée Chalamet) and, although I like his music, I don’t know that I could have picked out any of his songs prior to this film. Timothée Chalamet hasn’t impressed me much in the past, but he turns in what I consider to be one of the best lead performances of the year. Even coming in at over two hours, director James Mangold’s A Complete Unknown is a breezy and satisfying watch for all of us who can appreciate the trailblazing, artistic contrarians who can inspire us all. PAIGE Because of its shallow screenplay, A Complete Unknown is more of a compilation of Bob Dylan's greatest hits than a comprehensive biopic of the musician, but that, I think, is part of its appeal. This is a voyage of an artist who goes against the grain and does what he wants, when he wants, so don't expect to gain more insight about this contrarian, or you'll be a little let down. Timothée Chalamet perfectly channels a mysterious Dylan, and is bolstered by similarly captivating performances from Monica Barbaro, Elle Fanning, and Edward Norton. QUENTIN As a person who isn’t a massive Bob Dylan fan and someone who doesn’t get Timothée Chalamet's appeal, I was unsure what to expect with A Complete Unknown , even though I'm usually forgiving with musical biopics. Surprisingly, I was given a rushed, poorly developed, and borderline trash story that works only because of Chalamet's magnificent turn as Dylan and the folk icon's song list (convincingly performed by Chalamet). Those two elements, as well as great supporting turns from Edward Norton and Boyd Holbrook, are enough to keep you entertained even as you realize you aren’t learning a damn thing about the counter-culture hero.

MOUNTAINHEAD Starring: Steve Carell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef Director: Jesse Armstrong BODE It makes perfect sense that Jesse Armstrong’s first post-Succession project would make tech bros a target given how brilliantly he skewered them in that show’s last two seasons. That’s why it’s such a bummer that his directorial debut, Mountainhead , doesn’t really work. Its satire feels empty, its profane dialogue comes off laboured, its characters are insufferably one-dimensional (only Cory Michael Smith manages to add SOME layers), and even when it teases an absurd twist, it doesn’t really go anywhere. I’m sure Armstrong wanted to meet the moment as soon as possible, but he would’ve been better off letting it stew instead. KATIE Jesse Armstrong co-wrote and created both my favourite sitcom and TV drama, so in this context, it was fun to see how he’d tackle his debut feature. It’s definitely flawed, but the dialogue is zingy, the performances are hilarious, and I laughed out loud many times. It’s hyper-satirical in a similar vein to Succession , but it's driven more by the compelling dialogue than character development or plot. I didn’t mind this at all as a fan of Armstrong’s writing and blunt style of comedy. Mountainhead seems to continue a theme in Armstrong’s work that could be summarised as “these people are idiots.” ROBERT When the world goes to Hell, who can you trust but the billionaire tech moguls? That is what the four Horsemen of the App-ocalypse believe in Mountainhead , the debut film effort of Succession ’s Jesse Armstrong and the brain trust behind the popular HBO dramedy. If you like that show, its aesthetic and character templates of dumb rich guys making decisions that impact the world are on full display. However, it equates to, mostly, absorbing news and fake news and having it relayed amongst the four leads as they blather about how to move humanity into the future. There simply isn’t time to grow to like the characters, and thus, it feels cold. QUENTIN Seemingly, I’m one of the few people who didn’t enjoy Succession . For various reasons, it was a prestige drama that just didn’t work for me; however, I was intrigued about how a similarly satirical take from Succession ’s creator would look as a comedy. Turns out, I didn’t like Mountainhead either. It feels a lot like a stage play adapted to the screen, which eventually becomes tedious. Even worse, though, is that the four characters all come across as various versions of Elon Musk, and spending nearly two hours with four Musks is as abysmal and unfunny as you would think, especially given the “too soon” factor.

THE LOST DAUGHTER Starring: Olivia Colman, Dakota Johnson, Jessie Buckley, Paul Mescal, Ed Harris, Jack Farthing, Dagmara Dominczyk, Peter Sarsgaard, Oliver Jackson-Cohen Director: Maggie Gyllenhaal ADRIANO The Lost Daughter is a total mixed bag. On one hand, it’s a compellingly written examination of motherhood that features great performances from Olivia Colman and especially Jessie Buckley. On the other hand, Maggie Gyllenhaal’s direction is very messy, the editing is choppy, and the cinematography is super weak. It just took way too long for me to realize what this movie was, and the final ten minutes feel like a completely different movie altogether. There are so many moments that amount to nothing. This isn’t a bad movie, but there are just too many glaring issues. JACOB The Lost Daughter may not possess the masterful storytelling restraint of some other 2021 debuts, but it shows tremendous promise for Maggie Gyllenhaal in the director’s chair. Challenging material such as this teeters on a knife’s edge between being overbearing or too off-kilter to connect with an audience, but Gyllenhaal manages to straddle that line admirably, eliciting tremendous performances out of Olivia Colman and Jessie Buckley. Films about parenthood generally prefer to have an optimistic view on the task despite its burdens; this is the rare instance where the cynicism towards it is not only understood, but absent of judgment.

JUST BREATHE Starring: Kyle Gallner, Shawn Ashmore, Emyri Crutchfield, and William Forsythe Director: Paul Pompa III QUENTIN With all due respect to the perpetually underrated Kyle Gallner, who does the best he can with what he’s given here, Just Breathe is a mess thanks to a weak script, sloppy editing, and lazily rushed character development. Frankly, nothing in the story is earned, and Nick (Gallner) is hard to root for (again, not Gallner’s fault). In fact, almost every flaw falls at the feet of Paul Pompa, who, perhaps unsurprisingly, is making both his feature screenwriting and directing debut. I mean, there is a scene where Nick asks a question, but the response given is clearly to a different question, which is just… oof. KATIE Just Breathe is only redeemable because of Kyle Gallner’s talents, but it is still let down by the underdeveloped characters and script. It follows ex-convict Nick, played by Gallner, who tries to rebuild his relationship in the face of unbelievable (literally) circumstances, which could be entertaining, if not for how thinly written his love interest, Mel (Emyri Crutchfield), is. She is naive to the point that it's laughable, unaware of even the most obvious of red flags, which, along with her flat performance, makes it very hard to invest in her character. Alongside the muddled plot, Just Breathe is disappointing. ROBERT Unhinged performances are what I gravitate towards most, and at this stage of his career, Kyle Gallner is one of the best. Unfortunately, Just Breathe doesn’t deliver, blandly bouncing from here to there without ever relishing in what its star can do. There are some serious misses with casting, especially with Mel (Emyri Crutchfield), who has the story hinge on her obliviousness about her landlord Chester (Shawn Ashmore), but she is beyond myopic and toneless. I didn’t think I could be bored with the talent onscreen, but director Paul Pompa proved me wrong with this misfire.

THE BOOGEYMAN Starring: Sophie Thatcher, Vivien Lyra Strong, Chris Messina, David Dastmalchian, and Marin Ireland Director: Rob Savage NICK With its relatively simplistic story, The Boogeyman falls into the horror pitfall of “haven’t I seen this one before?” That’s not to say it isn’t good for what it is, just that what it is, is a familiar ghost story. That said, aside from feeling the drag of the build-up a little, I stayed engaged throughout thanks to some solid spooky imagery and the performance of Vivien Lyra Strong (Sawyer). It may not be breaking new ground, but The Boogeyman will still provide a solid night out at the movies, and sometimes that’s all you need. PAIGE While this atmospheric horror film is very formulaic, its scares still manage to be very effective, which allows the film’s eeriness to linger throughout its tightly paced runtime. The Boogeyman is the latest feature to come from up-and-coming horror director Rob Savage, who continues to prove he’s got the style and voice to be one of the next great horror filmmakers, and he builds enough tension to keep you hooked from start to finish. Furthermore, please keep giving me more of Sophie Thatcher in anything horror related because, my god, she always delivers a killer performance. ADRIANO The Boogeyman is a by-the-numbers horror film, but I can’t say it wasn’t effective. Director Rob Savage does a good job of creating a creepy atmosphere that will keep audiences unsettled for a good chunk of the runtime, not relying fully on lazy jump scares to be scary. It’s just… the plot is paper thin. Its themes of grief are pretty obvious and not very effective, and just about everything that I guessed would happen happened. These factors definitely diminished my level of enjoyment, but I can’t say I had no enjoyment. If you’re just looking for some safe scares, this’ll satisfy. JACOB As a fan of Rob Savage’s COVID-era horror film Host , I was looking forward to seeing what he could do with this adaptation of Stephen King’s material. While The Boogeyman certainly contains Savage’s horror stylings in essential moments, the story surrounding them feels underdeveloped. It’s not as though the story is only a crutch to get us to the next horror sequence, but one can feel the deeper moments waiting to be dug out from their surface trappings. The performances work and the set-pieces are effective; I just wish the script they are supporting knew how to honor those efforts.

FIXED Starring: Adam Devine, Kathryn Hahn, Idris Elba, Beck Bennett, Bobby Moynihan, and Fred Armisen Director: Genndy Tartakovsky NICK Known for his work on Cartoon Network, director Genndy Tartakovsky’s latest is a provocative adult animated feature in the vein of Sausage Party and it’s… something. Despite its incredibly raunchy nature and the cavalcade of unnecessary buttholes, I wasn’t offended, I just didn’t find it particularly funny. It’s not crude without purpose, as there’s an underlying story featuring themes of love and acceptance, but the vulgarity doesn’t enhance the story. The voice cast is solid and is highlighted by Idris Elba's portrayal of Rocco, but it doesn’t make up for the lack of laughs as humour is a quintessential ingredient to a good comedy. QUENTIN I like raunchy humor as much as the next guy, especially when animated since cartoons can provide an over-the-top absurdity that can’t be achieved with live action. That said, Fixed , which certainly provides the raunch, forgot about the humor part. When I was a pre-teen, I’m sure a dog talking about his balls for 90 minutes while constantly showing his starfish would have been the epitome of comedy, but I guess I’ve grown up. As it stands, Fixed is a mix of Strays and Sausage Party , built on little more than vulgarity for vulgarity’s sake. Forget about being neutered; this one should have been put down. BODE When it comes to Genndy Tartakovsky’s latest film Fixed , you’ll either be entertained by its perversity or completely turned off by it. Luckily for me, I happened to fall within the former category. While not every joke or visual gag lands, I laughed quite hard at the ones that did, and truly admired how far they were willing to go with some. It helps that the 2D animation is lovingly crafted, and its voice cast is quite spirited. To call Fixed one of Tartakovsky’s best efforts would be a lie, but for what it is, it’s a fun romp. PAIGE Fixed is a ballsy animated film that surprisingly comes from writer/director Genndy Tartakovsky, the man who brought us the Hotel Transylvania films. While this movie has a fun and clever premise, it would’ve worked far better as a short. With a runtime of 86 minutes, its raunchy humor grows tiring rather quickly. I’m no prude, but this movie relies heavily on nothing but sex jokes and foul language. Its only real redeeming quality is the great hand-drawn 2D animation, and not even that is enough to save it. Ultimately, this movie is dog shit. ROBERT Did you ever watch Ren and Stimpy and think how it could be improved with swearing and lewd innuendos? If so, Fixed is definitely for you. It’s a total 1990s-2000s vibes movie, from the Cartoon Network animation style to the iPod circa 2005 musical cues. The premise is reminiscent of a flashback sequence from The Simpsons with Santa’s Little Helper getting one last night of partying before he goes under the knife. The voice cast is inspired, featuring actors with plenty of recent comedic voiceover work; however, unlike prestige animated films, this will mostly just make you feel uncomfortable through suggestive behavior. This film has been reviewed by Quentin, Nick, and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival.

DESPICABLE ME 4 Starring: Steve Carell, Kristen Wiig, Pierre Coffin, Joey King, Miranda Cosgrove, Stephen Colbert, Sofía Vergara, Steve Coogan, Chris Renaud, Madison Polan, Dana Gaier, Chloe Fineman, and Will Ferrell Director: Chris Renaud AMARÚ Despicable Me 4 has some of the best animation Illumination Studios has released to date. After that, it’s the silliness you’d expect: Minions, memes, and lots of bodily function jokes. Gru’s (Steve Carell) three kids (now four) are still adorable, and the Minions are still fun mayhem, but this is the first time a franchise entry has felt more like an amalgamation of a bunch of TV episodes than a movie. Towards the end, one plotline takes center stage, allowing the film’s heart to shine a bit more, but make no mistake…this is a fourth-time diluted version of a just-ok animated series. ADRIANO Despicable Me 4 is another Despicable Me movie. Take that as you will. If you liked the other three, you'll be into this one. Me? I enjoy it as a shut-your-brain-off kind of movie, well aware that it's made for literal babies. It's got some funny slapstick and heart, but most of the jokes are pretty obvious. Plot-wise, for a 90-minute movie, there is a wild amount of time fodder and non-sequiturs that amount to not much. Kids are gonna fall in love, and adults won't hate it, but they won't think anything of it either.

THE FORGIVEN Starring: Jessica Chastain, Ralph Fiennes, Matt Smith, Christopher Abbott, and Caleb Landry Jones Director: John Michael McDonagh JOSEPH The Forgiven tries to illustrate numerous points but is at its best when holding a mirror to the mindless self-indulgence of wealthy Western culture. It’s an absolutely scathing critique of the indifference of the rich, but thanks to the great cast, we are still able to empathize with each character to some degree as we learn who they are. I don’t feel things are as fleshed out as they could be, but it does what it sets out to do. I only wish the runtime was longer so the nuance of the more minor characters could be explored further. QUENTIN The beautiful cinematography, simmering tension, and great performance from Ralph Fiennes (not to mention his character’s well-developed arc) will keep you mostly engaged in The Forgiven despite its insistence to keep returning to the Jessica Chastain side of things, which, through no fault of her own, is wholly uninteresting. While director John Michael McDonagh’s direction, full of static camera shots and minimalist characteristics, makes everything come across as distant and cold, maybe that is by design - to show that the wealthy are a soulless lot (in which case, fair enough). Either way, The Forgiven is a good-but-not-great movie that I feel somewhat dispassionate about.

DAY SHIFT Starring: Jamie Foxx, Dave Franco, Snoop Dogg, Natasha Liu Bordizzo, Meagan Good, Karla Souza, Eric Lange, and Zion Broadnax Director: J.J. Perry AMARÚ Day Shift doesn’t take long to set up what kind of movie it is. Two minutes in, and vampires are already being shot into the scorpion position (which happens a surprisingly large amount). Yet, the next action set piece doesn’t occur for at least another 30 minutes. Instead, it takes the clichéd “I need X dollars in Y days or I lose my family” storyline way too seriously for a movie that leans heavily into silly R-rated vampire movie tropes. Jamie Foxx’s natural charm could have made me overlook the predictability, conveniences, and undeveloped characters, but the tonal imbalance was hard to overcome. JOSEPH Day Shift , like Netflix’s other urban fantasy film Bright , is a cool idea that should work but unfortunately doesn’t. Everything about the world building feels complete, and the performances are engaging, but there is something missing. Plus, the overuse of CGI, lack of focus for the majority of the story, and weak jokes add additional hindrances. Still, a sequel or spinoff could prove to be successful with the right director and writer. Jamie Foxx and Dave Franco deserve better. QUENTIN When considering Netflix’s star-driven blockbusters, Day Shift has to be considered one of the streaming service’s weakest of the year, maybe ever. It’s basically just Ride Along , with the tiniest traces of True Lies and Zombieland , but with vampires. It relies on so many generic tropes that I don’t have enough space to even start mentioning them here, not to mention an over-the-top, WWE-style fight choreography that weirdly lacks fun and excitement. Plot points and the rules of the world we’re given don’t make much sense either, and there are a few downright odd camera angles put in play. Banging West Coast soundtrack, though.