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.

WHAT COMES AROUND Starring: Grace Van Dien, Summer Phoenix, Kyle Gallner, Jesse Garcia, and Reina Hardesty Director: Amy Redford QUENTIN What Comes Around ’s marketing does the film a disservice by calling it “an immersive thriller.” There is certainly a mystery at play, with things not always being what they seem, but there are few “thrills.” That said, the movie is excellent. Kyle Gallner, in another great indie movie people likely won’t see (Dinner in America , anyone?), is especially good as a 28-year-old man, potentially with ulterior motives, wooing a 17-year-old girl. It’s a slow, minimalist burn, but it culminates in one of the most layered endings I’ve seen in a while. I honestly haven’t stopped thinking about it since I saw it at TIFF 2022. NICK Promoted as a thriller, What Comes Around is actually more of a layered drama about family and relationships. This small-scale story is filled with genuine performances, particularly from Grace Van Dien as the naïve teenager and Kyle Gallner as her older love interest. The story eventually takes an unexpected turn that changes the trajectory of the film, and without spoiling things, I’ll say that turn is what truly elevates this to something special. What Comes Around is a pleasant yet simplistic surprise that is carried by its authentic dialogue and cast; it's just low in thrills, so temper your expectations. PAIGE What Comes Around is more than what the trailers and plot synopsis present it to be, which means I was quite surprised by this film. It’s filled with twists and turns that I did not see coming. Once the second half hits, this psychological drama will have you on the edge of your seat. That said, for it to be considered a thriller, it needed A LOT more tension. Still though, the performances are great and will keep you engaged throughout, especially by Kyle Gallner, who always seems to deliver the goods. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

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.

SR. Starring: Robert Downey Jr. and Robert Downey Sr. Director: Chris Smith JACOB Chris Smith’s Sr. is a wonderful, heartfelt tribute to one of cinema’s most beloved icons and a fitting, bittersweet farewell to the great Robert Downey. Shot in crisp black-and-white and running at just 89 minutes, the film moves at such a clip that it barely registers movement at all before the credits roll. As the audience is treated to both Downey Jr. and Sr.’s process of making this film, we also get to hang out with two of the most insightful and irreverently funny storytellers on the planet, and get a small glimpse into the fatherhood legacies of both men. NICK Sr . sets out to do a lot of things. On one hand, it celebrates the work of Robert Downey Sr., works that I was relatively unfamiliar with. On the other hand, it acts as a vehicle for Robert Downey Jr. to come to terms with the end of his father's life. It's not always an easy watch, and it illuminates some of the reasons Jr. had the challenges he did early in his life; however, more than anything, it allows him to find a sense of closure as he says goodbye. Shot in beautiful black-and-white, this film is a touching memorial, to be sure. JOSEPH Much like what Robert Downey Jr. says towards the end of the film, I don’t quite understand what the point of Sr. was. It was clearly a final project between father and son so that they could bond over their love of cinema, but more so, it feels very personal. The Downeys are letting us into a memory that they’ve created for themselves, and for that reason, I’m sure it was deeply fulfilling for them; however, as a viewer, I felt far too detached from the subjects. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

THUNDERBOLTS* Starring: Florence Pugh, David Harbour, Sebastian Stan, Hannah John-Kamen, Olga Kurylenko, Wyatt Russell, Lewis Pullman, Julia Louis-Dreyfus, Geraldine Viswanathan, and Wendell Pierce Director: Jake Schreier NICK I’m going to start off with the good stuff as I enjoyed a lot of Thunderbolts* . The subjects of trauma and belonging are deftly handled, both story-wise and cinematically. Florence Pugh and David Harbour both give their best MCU showings yet as Yelena and Alexei, respectively, while Lewis Pullman’s Bob makes for a welcome addition. The fights are engaging, and the comedy is organic and funny. The only thing negatively affecting my rating is the pacing of the final 30 minutes. There's a rush to the conclusion that feels claustrophobic compared to the rest of the film. Besides that, though, this exceeded my expectations. QUENTIN If you’ve seen the “Marvel is trash! – Marvel is back!” meme, Thunderbolts* puts extra emphasis on the positive side of that seesaw. Through a terrific cast, resonant character work, and surprisingly layered writing that touches on trauma, trust, mental health, and finding your tribe, this Guardians of the Galaxy -style team-up is the first MCU movie in a long while to feel like Infinity Saga-era Marvel. The action and humor are typically on point (feeling fresh, even), and the world building to set up future movies is more organic than it has been in recent efforts. Good job, Marvel; Thunderbolts* is a winner. Now, keep it up. AMARÚ If director Jack Schreier can successfully use an entire* ensemble with great action, effective comedy, and tremendous heart like this, maybe he should direct an Avengers film. Thunderbolts* is a more-than-solid MCU entry in every* aspect we’ve come to enjoy. Even Julia Louis-Dreyfus is a better version of her still-too-ham-fisted portrayal of Allegra Valentina de Fontaine. The script’s employment of her character boosts the emotional impact the titular group’s marred pasts provides, especially through Lewis Pullman and Florence Pugh’s outstanding chemistry. To find out how surprisingly impactful, and what my additional asterisks mean, you’re going to have to watch the movie. Which you should. ROBERT When I was projecting out my expectations and excitement of the three MCU projects for 2025, Thunderbolts* would’ve been a distant third on the list. Then, the movie drove up like Bucky Barnes on his motorcycle and blew up those preconceived notions as it unfolded before my eyes. Those eyes had to fight back tears of all kinds: of joy from laughing and of sadness from empathizing with characters as they struggled for purpose, for positive mental outlook, and for connection. Thunderbolts* managed to be cohesive, be surprising, and be mirthful, which are three adjectives Marvel has struggled to imprint on their films until now. ADRIANO I'll give the MCU half a point for making half a great movie because the first half of Thunderbolts* is unbearable at times. The structure and pacing are sloppy, and aside from the seeds of effective character writing they plant, everyone is relegated to "the quirky one." The second half, though, kicked my Marvel-hating ass a bit. Some characters are left in the dust, but I loved the mature and humanistic approach to mental health, even taking swings that were effective. It's rough around the edges, but I'll take stuff like Thunderbolts* over the other slop Marvel has been releasing any day. BODE Even by the low bar the MCU has recently set for itself, it says something that Thunderbolts* manages to clear it. By virtue of feeling more like a real movie and less like another branding exercise, it succeeds with a structure that puts actual emphasis on its characters, genuine thought into its visual look (decent colour grading, real locations, etc), humour that doesn’t undercut emotional beats, and even some fairly memorable music (courtesy of Son Lux). I won’t say Thunderbolts* is a massive step in the right direction (its best moments don’t come until the third act), but it’s at least a step. Want to hear even more of our thoughts? Nick, Amarú, and Shak join Matt to take A Bigger Bite out of Thunderbolts* HERE .

YOUNG WERTHER Starring: Douglas Booth, Alison Pill, Iris Apatow, and Patrick J. Adams Director: José Avelino Gilles Corbett Lourenço ADRIANO Young Werther begins pretty basic. The direction is flat and the plot progresses in a fairly familiar way to most rom-coms, only this time with an unlikeable lead. But then, the movie shifts its tone to become more mature. The performances of Douglas Booth and Alison Pill kick up a notch too. I began to appreciate it for its honest and often funny portrayal of modern romance, leaning into the flaws and insecurities of its characters as it approached a satisfying third act. I didn't expect to relate to this film in the way I did. PAIGE Young Werther started out as a cute and witty romantic comedy with a charming ensemble, but as it went on, it became increasingly insufferable. Unfortunately, this wannabe Wes Anderson film treads into the familiar territory we often see with these modern adaptations. The movie struggles to fully flesh out its themes, but I will give it credit for having the most suitable ending for its plot. Overall, it's just a blah movie to throw on in the background while you're doing other things, though I'd be lying if I said it didn't have some mildly endearing moments. PRESTON We all have (or have had) that one friend who pushes your buttons, but you love them anyway. They can push you to the edge of complete exasperation, but their certain “je ne sais quoi” keeps them in your sphere and, ultimately, charmed. Young Werther mimics this emotionally teeter-tottering arc not only as a film, but reflected through its titular protagonist (Douglas Booth). Each time I thought I might write it off as annoying, I was tentatively enchanted once more. Based on a Von Goethe literary classic, you could do much worse in the rom-com film space. KATIE Unfortunately, I didn’t find Werther (Douglas Booth) as charming as he and everyone else in the film did. The modern update of this literary classic is strained, and I thought his actions were creepy as opposed to romantic. The dialogue reaches for quirky and offbeat but is instead almost insufferable. Werther comes across as exhausting to be around, and the romance between him and Charlotte (Alison Pill) is not convincing, so I found myself rooting for his love rival to teach him a lesson. My standards for a decent romantic comedy are not particularly high, but Young Werther still didn’t hit the mark for me. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

KING RICHARD Starring: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Jon Bernthal, Dylan McDermott, and Tony Goldwyn Director: Reinaldo Marcus Green PAIGE All hail the king! King Richard is an inspiring, unconventional, and heartfelt sports biopic that explores a family working towards the American dream. A true crowd-pleaser, it finds a new angle from which to approach the biopic formula by focusing on family first and foremost. Will Smith anchors the film, delivering an Oscar worthy performance while being surrounded by an equally strong ensemble. The only downside of the film is that the runtime is a bit longer than it needs to be. However, it still manages to grip you without losing track of itself. AMARÚ Love - that’s what comes through when watching King Richard. A father’s love for his daughters, sisters’ love for each other, and athletes’ love for the game. Will Smith as the fiercely driven Richard Williams is sure to get Oscar buzz, but he is matched frame for frame by the luminous Saniyya Sidney (as Venus Williams) and Demi Singleton (as Serena Williams). The too few glimpses into Richard’s darker past (highlighted brilliantly by Aunjanue Ellis) does leave you wanting, but the uplifting and heartfelt story that is ultimately delivered will enthral you from start to finish. JACOB King Richard may not have sports fans clamoring over it as with Creed or Ford v. Ferrari , but it’s the closest something has come to matching that energy in a while. A solid, middle-of-the-road crowd-pleaser with a lot of heart on its sleeve, the inspirational tale of the Williams’ sisters rise to glory is very well written and mostly well paced. Will Smith is on another level here (and is sure to win Best Actor), but Aunjanue Ellis matches his every step, nearly stealing some scenes. Saniyya Sidney shines as Venus too. This will likely be a major Oscar contender. JOSEPH King Richard is your typical Oscar bait biopic. It’s a competently made film led by Will Smith, but it’s actually carried by the rest of the ensemble. It has a few too many things to focus on, so even with a 2.5-hour runtime, it feels like it barely scratches the surface. While there is some vulnerability to the characters, it's almost sanitized to a certain degree, leaving it feeling a bit generic. Still, it’s one to watch, especially if you’re with family. ADRIANO King Richard is a paint-by-numbers movie, but one that has enough heart that it can be forgiven. Will Smith gives a career best performance, but for me, it’s Saniyya Sidney as Venus Williams who steals the show. The movie definitely has a powerful underdog story to tell, but it never lets go of the family aspect, which is the movie’s strongest and most engaging component. It makes the 2.5-hour runtime fly by, creating one of the better feel-good movies I’ve seen in a while. NICK Upon watching King Richard, it’s clear this is a story worth telling, as the journey of this family is truly fascinating. Richard Williams is a polarizing figure, and his mix of Lavar Ball-style antics and determined fatherhood made Will Smith perfect for this role. However, the film is well cast across the board. Smith may get all the awards chatter, but the film doesn’t work without Saniyya Sidney's endearing portrayal of Venus Williams, who is at the heart of the story. This is more than your typical rising-through-the-ranks backstory and it’s certainly worth checking out. QUENTIN Despite a great performance from Will Smith, I’m unsure of what feeling I was supposed to come away with from King Richard. Obviously, the Williams sisters are superstars, but the movie nearly forces you to question whether they are successful because of their father or despite him. It’s generally pro-Richard Williams (Smith), but the onscreen events don’t always jive with that, which causes some conflict in the viewer. It’s still worth watching, but the mixed messaging and a wavetop approach to racial issues that the sisters surely faced make the story a bit less inspirational than it probably should be.

REMINDERS OF HIM Starring: Maika Monroe, Tyriq Withers, Lauren Graham, Bradley Whitford, Rudy Pankow, Nicholas Duvernay, Zoe Kosovic, and Monika Myers Director: Vanessa Caswill AMARÚ Reminders of Him had the foundation for a compelling, sappy romance led by four solid actors. So why were the capable Maika Monroe, Lauren Graham, Bradley Whitford, and Tyriq Withers (yes, even Tyriq, who hasn’t truly been provided the chance to show it) given nothing to work with? This melodramatic, emotionally draining movie read like the shallowest of soap operas, was edited like a multi-cam television show, and telegraphed overly descriptive exposition into its overly simplistic narration. Reminders trusted the audience to believe Monroe and Withers’ passable chemistry, but couldn’t trust them to understand the nuanced premise it’s too scared to show instead of tell. ADRIANO I don’t know what happened to Colleen Hoover, but between this and Regretting You , she’s got a weird approach to romance. While not as laughably bad as the latter, Reminders of Him' s kooky narrative of a cosmically connected whirlwind romance centred around a tragedy is strange enough as is, but nothing happens between the beginning and the end. There are no character arcs, themes are repeated instead of properly explored, and the central romance is weak. The ending is sweet enough, but it wasn’t earned in any way. At least Regretting You made me laugh. This did nothing.

AIR Starring: Matt Damon, Ben Affleck, Jason Bateman, Chris Messina, Marlon Wayans, Chris Tucker, Matthew Maher, and Viola Davis Director: Ben Affleck QUENTIN Considering it’s a movie about a shoe deal, which doesn’t sound remotely interesting on the surface, it’s wild just how well Air comes together. Between the terrific performances, banging soundtrack, and inspirational-but-not-overly-sentimental monologues, director Ben Affleck and writer Alex Convery take what could have been an extremely dry corporate story and turn it into a film that pops with the energy of March Madness. Admittedly, certain parts feel a little too breezy, making Air an apt title, but whatever the film lacks in gravitas, it more than makes up for in rousing entertainment value and, for basketball fans of a certain age, pure nostalgia. JACOB Ben Affleck is back in the director’s chair with Air , and while I won’t say it blew me away in any capacity, it is probably about as good as a movie like this can be. The performances are all solid (Ben Affleck and Chris Messina steal the show), the script is workmanlike and structurally sound, and Affleck’s direction is as assured as ever. Somehow, the movie gets you to care that Michael Jordan says yes to a shoe line, and it’s not because of Jordan himself. I do wish the film felt a little more epic to non-NBA followers, though. ADRIANO I say this with no exaggeration: I left Air with my fists stuck in the air. It’s the kind of crowd-pleaser that you want to experience in a packed theater; one that makes you want to dream big, yet it never feels overly sentimental or cheesy. I know nothing about basketball, but that didn’t matter. I was able to follow this inspiring story through and through, thanks in part to a surprisingly funny script and one hell of an ensemble. I don’t know who I wouldn’t recommend this one to. It’s a movie for everybody. AMARÚ Air ’s structure consists of two main components: needle drops and monologues. One great song sets up an inspiring and superbly acted speech from the likes of Matt Damon (Sonny Vaccaro), Viola Davis (Deloris Jordan), and the rest of the great cast (Matthew Maher as Peter Moore is a standout), which cues the next great song, and so on and so forth. While the film’s last act is a rousing culmination of this round robin, the film would have elevated from really good to great if the entire runtime felt as cohesive as the last 30 minutes.

WOLF MAN Starring: Christopher Abbott, Julia Garner, Matilda Firth, and Sam Jaeger Director: Leigh Whannell NICK With Wolf Man , director Leigh Whannell tries his hand at another classic monster, but he isn’t able to achieve the depth he did with The Invisible Man . It’s not that he doesn’t try to inject new ideas – there’s something particularly interesting he does in regards to a character's POV – but everything feels a little underbaked, like you’re watching a first draft over a completed product. Where I will give props is to the make-up department, who makes the most of what is (nowadays) a small budget. Unfortunately, looks aren’t everything. ADRIANO After writer/director Leigh Whannell's last film, The Invisible Man , I was excited to see what he would do with Wolf Man . Sadly, for the majority of the movie, I found myself longing for the film’s very apparent lost potential, especially with some of its interesting creative decisions. However, the movie is so rushed and cheap with its horror, that I felt none of its emotional tension when it tried to dig into generational trauma. Truthfully, it kinda feels like an hour was missing from this. Wolf Man is simply the one thing a horror movie should never be: dull. KATIE As a fan of Leigh Whannell’s The Invisible Man and his work on successful horror franchises, Wolf Man was one of my most anticipated films of 2025, especially since Whannell commented that he was inspired by his favourite 80s body horror classics. However, the film lacked the gore and scares that I was promised. On the bright side, Christopher Abbott’s performance is great, and the transformation scenes are decent, but the patriarchal trauma, slash toxic masculinity angle lacked depth, and the reactions of his family to his metamorphosis were oddly unflustered. Despite some interesting visuals and practical effects, Wolf Man lacks any real bite. PAIGE Although Wolf Man delivers on gnarly body horror and terrifying imagery, the movie lacks the originality to differentiate itself from other werewolf tales. Director Leigh Whannell's previous “monster” movie, The Invisible Man , was a success because it took a fresh approach to the subject and reinvented it. This time around, he tends to take a more direct approach that isn't groundbreaking for the genre, which was a little disappointing. Overall, the film's ideas and plot seemed half-baked. Don't get me wrong, the distortion scenes were fascinating to witness, the practical makeup was stunning, and Christopher Abbott’s performance is great, but I needed more for this film to stand out from the pack.

THE SURFER Starring: Nicolas Cage, Julian McMahon, Nic Cassim, and Finn Little Director: Lorcan Finnegan QUENTIN Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. KATIE Only Nic Cage could bring the unhinged energy needed for The Surfer to work. Cage dials it up to 100, ranging from frustration to maniacal anger to desperate sadness and psychological turmoil. His thrilling performance alongside the tragicomedy is heightened by the tangibly sweltering heat and quickly rising tensions, captured with vibrant, deeply saturated colour and surreal visual effects that enhance the ambiguity of Cage’s character’s reality. The rest of the cast is also fantastic, convincingly carrying the film’s themes of toxic masculinity and dominance. The Surfer is destined to be a cult hit and a favourite amongst Cage fans. This film was reviewed by Quentin and Katie as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 BFI London Film Festival, respectively.

ODDITY Starring: Carolyn Bracken, Gwilym Lee, Caroline Menton, Steve Wall, Jonathan French, and Tadhg Murphy Director: Damian McCarthy QUENTIN Oddity is an excellent example of how a horror movie can rely on eerie atmosphere and a slow-burn approach without sacrificing narrative (take notes, The Witch and Starve Acre ). This is a movie that captivates from the outset, mixing the tense moodiness of “elevated horror” with the genuine jump scare moments that so many Blumhouse movies try and fail to manufacture. Plus, although the story isn’t entirely unpredictable, the general mystery of it all still draws you in through Damian McCarthy’s direction and Carolyn Bracken’s unnerving performance. All in all, if not for Longlegs , this might be the best horror movie of the year. NICK Some horror films need excessive gore and brutality, while others employ a plethora of jump scares. With Oddity , it's pure atmosphere. Everything works in service of the eerie tone director Damian McCarthy delivers, leaving you chilled to the bone as the story unravels. A story, I may add, that is quite good. There are shades of other films, but this is an original idea. Toss in a lesser known cast who wholeheartedly understands their assignments, and you have a film that is bound to appeal to horror lovers who have found this year's output lacking. PAIGE Oddity is an eerie experience. The story's atmosphere, mood, and unsettling imagery are what make it most effective despite the plot's periodic murkiness and simplicity. Even when I felt this paranormal murder mystery was losing steam, it snuck back up and shook me. Director Damien McCarthy has a great sense of how to execute a jump scare, and he cautiously creates tension with just darkness and silence. Though the ending is a little underwhelming, this original flick is one to definitely catch when it hits Shudder. This film was reviewed by Nick, Quentin, and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival.