SILENT NIGHT, DEADLY NIGHT Starring: Rohan Campbell, Ruby Modine, Mark Acheson, David Lawrence Brown, and David Tomlinson Director: Mike P. Nelson ROBERT Campy horror movies beget campy horror movies, so attempting to do anything but modernize a classic 1980s slasher like Silent Night, Deadly Night would be a travesty. Fortunately, Mike P. Nelson understood the assignment overall because the ridiculousness and mood of this remade version kept the spirit of the original alive. I was nervous in the first half, where it seemed like Billy’s (Rohan Campbell) trauma was being taken too seriously, but once the second act hit, it ramped up to its peak level. There were Easter Eggs for fans, but you can enjoy it without prior knowledge of the franchise. Naughty or nice? Definitely nice. KATIE I haven't seen the original Silent Night, Deadly Night films, so I'm judging the 2025 version completely on its own merits. Considering this is the second modern reboot of the 1980s Christmas slasher, I had so much fun with it. It’s definitely over-stuffed, with an unconventional but convoluted romantic plot at the centre, but it also has delightfully bloody, over-the-top violence, good performances, and a particularly enjoyable nazi-murdering set piece. It knows it's silly, but also tries to do something different and have fun, albeit not always successfully. BODE Director Mike P. Nelson first came on my radar via his 2021 reboot of Wrong Turn , a film that I thought managed to breathe some gnarly new life into a usually junky franchise, and I hoped that he could pull the same trick twice with Silent Night, Deadly Night . However, while the ridiculousness of the original cult slasher remains, to the point where it even adds a supernatural element, it’s severely lacking in energy and certainly in terms of edge. Even by its own trashy standards, this is still somehow disappointing.

THE CAINE MUTINY COURT-MARTIAL Starring: Jason Clarke, Kiefer Sutherland, Jake Lacy, Monica Raymund, Lewis Pullman, Tom Riley, Jay Duplass, Elizabeth Anweis, Gabe Kessler, and Lance Reddick Director: William Friedkin QUENTIN Though not flashy, The Caine Mutiny Court-Martial is a thoroughly engaging courtroom drama. Presented like a single-room stage play, it’s content to simply let its actors do what they do best: act. It asks interesting questions about military rank structure, the uniform code of military justice, and the ramifications of decisions made by those in command only through the various testimonies, which allows viewers to draw their own conclusions about the case at hand. Given that it was directed by the late William Friedkin, it’s no surprise that this stripped-down version of A Few Good Men is old school movie-making at its finest. CALEB The Caine Mutiny Court-Martial is an exceptionally written courtroom drama that deftly explores the unspoken vulnerabilities of men serving in the line of duty. The film’s compelling script is enriched by captivating performances from Kiefer Sutherland, Jason Clarke, and Lance Reddick. Visually, the film employs a calculated, restrained style, dedicating its cinematic language solely to highlighting the multitude of impressive performances on screen. This unpretentious approach is a shining testament to director William Friedkin’s confidence as a storyteller. Court-Martial is a powerful meditation on honour and responsibility that makes for a memorable send-off for both Reddick and Friedkin. PRESTON The Caine Mutiny Court-Martial is the latest adaptation of the Pulitzer Prize-winning novel, The Caine Mutiny (1952). Despite its abrupt start (and confusing libel with slander at one point), this latest rendition proves that a massive budget filled with expensive visual effects and eccentric camerawork isn’t necessary to make an altogether satisfying and quality production. The script is dialogue rich, featuring a functional style that is 12 Angry Men meets A Few Good Men and a refreshingly accurate and believable portrayal of everyday military shenanigans. Trust me, you won’t regret sitting down to watch this little hidden gem. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

NO ONE WILL SAVE YOU Starring: Kaitlyn Dever Director: Brian Duffield NICK I respect what director Brian Duffield has attempted with No One Will Save You , but it just didn't work for me. The atmosphere he creates and the alien design are both top notch, but the risky decision to have the film basically be devoid of dialogue had me tuning out more than in. It seems like he was going for something similar to A Quiet Place , but without the tension of that film, it just makes things feel awkward. I fully expect it to work for many others, but for me, I just wasn't able to connect with the approach. PAIGE No One Will Save You is a tense and seriously creepy alien invasion flick that gives off classic horror sci-fi vibes while also feeling very reminiscent of 2002’s Signs . The classic gray alien and UFO designs will truly give you nightmares, not to mention that Kaitlyn Dever proves once again that she is a force to be reckoned with, delivering a fierce physical and emotional performance. This film has next to no dialogue, which makes it all the more eerie, but the ending may lose some people with the very odd note it decided to leave its audience with. CALEB I’ll give No One Will Save You credit for taking some creative risks, but they don’t really pay off. The most daring element of the film is the dialogue-free script, but this has been done before and it’s been done better. Films like A Quiet Place (2018) and Don’t Breathe (2016) tread similar ground, but make the lack of dialogue an essential component of the storytelling. Here, it feels more like a gimmick that the film is forcing on itself. The unnatural storytelling, along with some mediocre visual effects, make this alien invasion feel poorly planned out. PHILL No One Will Save You might easily be one of the most visceral-sounding films ever made, especially since the characters never utter a single word. Without dialogue, the sound mixing fixes on every creepy step and snapping bone crunch, effectively maximising an immersive and unsettling tension that rarely is executed this well. It adds tremendously to the isolation of Brynn (Kaitlyn Denver) as she deals with her extraterrestrial terrors. No One Will Save You might not break the mould, but it certainly attempts to reshape it in one of the creepiest horror films of 2023.

FRANKIE FREAKO Starring: Conor Sweeney, Matthew Kennedy, Kristy Wordsmith, and Adam Brooks Director: Steven Kostanski This film has been reviewed by Quentin, Paige, and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2024. QUENTIN After the out-of-nowhere gem that was 2020’s Psycho Goreman , I’ve been eagerly waiting to see what writer-director Steven Kostanski would do next. Thankfully, he does not disappoint with Frankie Freako . Much like Goreman , Freako is an authentic homage and loving tribute to some of the weirder sci-fi family movies of the 80s, from the puppetry to the costume, set, and production design. Even small details, like drinking neon green cans of “Fart…with caffeine!”, feel delightfully 80s. Even though this was my first time watching Freako , my nostalgia meter was off the charts, conjuring memories of everything from Risky Business to The Garbage Pail Kids. NICK Back in the before times, with video rentals and straight-to-DVD releases, you'd find films like Frankie Freako with relative ease. Today, they're a product of a bygone era and a nice blast of nostalgia. An homage to films like Gremlins , Freako never feels like an imitation. The creatures are memorable and well designed, the concept is entertaining, and it all makes you feel like a kid again (although I wouldn't call this a kids film). Director Steven Kostanski seemingly improves as a director with every film, and I hope he continues making movies like this one. PAIGE Frankie Freako lives up to the hype of its predecessor, Psycho Goreman , a writer/director Steven Kostanski crafts one of those rare modern gems that feels like a true throwback to the fun, 1980s creature features we used to get. This wacky B-movie features amazing puppetry reminiscent of Labyrinth and The Dark Crystal , as well as comedic beats akin to Gremlins 2: The New Batch . Though some may find this movie obnoxious (which it kind of is), if you enjoy campiness, you'll value the creativity and craftsmanship used in this flick.

THE FANTASTIC FOUR: FIRST STEPS Starring: Pedro Pascal, Vanessa Kirby, Joseph Quinn, Ebon Moss-Bachrach, Julia Garner, and Ralph Ineson Director: Matt Shakman NICK The Fantastic Four have always been a bigger deal in the comics than film, but Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach and Joseph Quinn are here to change that. This cast brings new light and tremendous chemistry to the MCU as the definitive version of Marvel's first family. The visuals are on point - especially when the team uses their powers, which is smartly never overdone. Also, if I’m being honest, although the heavy focus on the themes of parenthood, companionship, and purpose masks a fairly simple story, it was just nice living in a world in peril with no Avengers to save it. AMARÚ First Steps blazes a breakneck pace, and ironically, it’s a beautifully turbulent second act action sequence that settles it into its heartfelt story. Marvel’s first family is introduced with a TV special cold open that never transitions out of montage-like editing, even after the special presentation ends. So many real-time scenes leave out crucial lived-in seconds between cuts, and make it hard to fully breathe in their lovely chemistry. Don’t worry, we finally have our family, as the foursome is portrayed magnificently grounded, especially an emotionally resonant Vanessa Kirby. But director Matt Shakman let down a fantastic film with his poor cutting room decisions. QUENTIN I’ll do my best not to make the obvious pun, but First Steps is the best “solo” MCU movie since Ragnarok . I base that on two main drivers: 1. the 60s retro-futuristic production design does a lot of heavy lifting, as it makes for perhaps the freshest experience of the entire MCU; and 2. I never read Fantastic Four comics, so it’s the first superhero movie, Marvel or otherwise, in a long while that created genuine suspense since I didn’t know exactly where the story was headed. Couple that with excellent casting and little-to-no fat in the script, and you’ve got something…uh…fantastic. Damn, almost made it. ROBERT People always complained that the Fantastic Four was a comic property not built for a live-action adaptation because the team was too weird. I mean, I ride for the Tim Story iterations, but they aren’t “good” by any stretch. However, Matt Shakman and Kevin Feige put forth a gorgeous effort with First Steps as it is visually breathtaking and emotionally grounded in the inner machinations of a family with cosmic abilities. Even at its cheesiest or most outrageous, I was never phased because the personal dynamics of the four leads were so strong, and the cool factor of our villains never waned. I cannot wait for their addition to the Avengers at large, or for another team endeavor. KATIE I found watching The Fantastic Four: First Steps to be a fruitless experience. The retrofuturistic style is fun, but it is overshadowed by the distracting CGI, which makes it murky and dulls the vibrancy overall. It lacks any tension, which I wouldn't have minded if the characters were compelling, the visuals were appealing, or the cast had any chemistry. At this point, I don’t know if I can truly enjoy Marvel films anymore, since I’m always aware that characters will return in future installments in the franchise, so it feels like they don’t even attempt to build suspense. ADRIANO As the resident Marvel detractor, I have mixed feelings about The Fantastic Four: First Steps , but I lean positive. The four main actors (Pedro Pascal, Vanessa Kirby, Joseph Quinn, and Ebon Moss-Bachrach) are great, and the retro aesthetic is visually pleasing. Yet right after a visually remarkable sequence, I noticed it all started to feel narratively chopped up. Plot lines and character beats set up in the first half were rushed to an unfulfilling conclusion, making it all feel like a wash. When it finished, despite some good elements sticking out, this was a case of been there, done that. BODE Everyone knows that the Fantastic Four have had a rough go when it comes to their big screen escapades, so the pressure was on for the MCU to deliver a version that would feel definitive to those who hold these characters dear. First Steps is certainly the best attempt, but that’s basically by default. While an Interstellar -inspired first half promises something bold and exciting, it later settles into a plot-driven rhythm that’s atypical of this franchise, lessening some of the fun that was initially present. It still passes the time decently enough, but not much more than that. Want to hear even more of our thoughts? Nick, Amarú, and guest Jeannine Brice join Matt to take A Bigger Bite out of The Fantastic Four: First Steps HERE .

THE INVITE Starring: Seth Rogen, Olivia Wilde, Penélope Cruz, and Edward Norton Director: Olivia Wilde ADRIANO The Invite spectacularly fires on all cylinders. Despite its chamber-piece setting, director Olivia Wilde does an incredible job of never making it feel like a play, and paired with its editing and firecracker writing, the film is kinetic, sucking you into every frame. Wilde, Seth Rogen, Edward Norton, and Penélope Cruz all give outstanding performances, and as funny as the movie is (a high joke-per-minute ratio and a near-equal hit rate), The Invite’s ability to slow down and have a universally poignant conversation about relationships is a testament to the strength of everyone involved with this fantastic mid-year gem. NICK With an airtight script, pitch-perfect pacing, and a great ensemble cast, The Invite is a triumph. Director Olivia Wilde shows that Don't Worry Darling was the exception and not the rule when it comes to her skills as she gives one of the strongest directorial efforts of the year. Wilde takes full advantage of her singular setting to enhance the performances of her four lead actors (I will listen to arguments for each as the film’s MVP) and gives them the opportunity to shine. It’s hilarious throughout but never at the expense of its honesty, which is yet another strength of the overall film. AMARÚ The Invite is a hectically seamless marriage of multiple film elements. Writers Will McCormack and Rashida Jones channel their inner Aaron Sorkin, but they’re much more uniquely chaotic. Composer Devonté Hynes’ tonal shifts, including pure silence, perfectly enhances the awkward turmoil. Olivia Wilde’s direction brilliantly juxtaposes the narrative disarray with pristinely angled framing and mirror usage, simultaneously reflecting her character’s failing struggle to maintain order. Add in Penélope Cruz and Edward Norton’s singularly hilarious performances, and Seth Rogen’s perfectly timed sardonic one-liners, and it all comes together to surprisingly present an important message about open, honest communication. An unexpectedly beautiful, big ball of bonkers bedlam. ROBERT If your film is going to be a three-act play in one setting, it better be hilariously written and beautifully blocked, or spectacularly acted and emotionally resonant. I’m thrilled that The Invite thrives in both sandboxes effortlessly. The dialogue is incessantly crackling, and the interpersonal dynamics between these two different relationships socially merging into an incendiary atmosphere are both cringey and awkward in the best ways. The script is phenomenal, and the music’s situational awareness inspiringly transitions with the tenor of the conversations. All four performers vibrate on a wavelength perfect for their strengths, and most importantly, as a haphazard dinner party, it’s always enthralling. BODE The Invite sees actor-director Olivia Wilde switching gears once more; this time, taking a chamber piece-style approach to explore two couples whose lives couldn’t be more different from one another. By all accounts, she makes a meal out of it. Already working off a snappy, insightful script from writers Rashida Jones and Will McCormack (whose Celeste and Jesse Forever is also required viewing), Wilde elevates the material by getting the absolute best out of her cast, as well as her editors and cinematographer, all of whose efforts accentuate the hilarity and heartbreak of the film’s shifting dynamics. I really enjoyed this. KATIE When I say that The Invite is excruciating, I mean that with the highest praise. It’s pitch-perfect; hilariously awkward and relentlessly entertaining, with a razor-sharp script, meticulous pacing, faultless performances, and Olivia Wilde’s brilliant direction. The stellar cast work magically comes together and are all laugh-out-loud funny. Despite the singular setting and theatrical nature of the drama, it never feels stagey, and I was absorbed in the story and cacophony of voices punctuated by the wonderfully jarring musical score that accentuates the oppressively uncomfortable atmosphere. Yet, I was still moved by the end of the film and its brief emotional authenticity. PAIGE The Invite has a brilliantly written screenplay that not only balances humor, it also delivers an honest depiction of the importance of communication in a relationship. Olivia Wilde delivers a one-two punch as she excels both as one of the film's leads and as its director. Her direction beautifully captures the tension and intimacy of this single location setting. The pacing is sharp, which allows the comedy and emotional beats to hit spot on. It’s not only funny, but it’s authentic. Overall, this film is executed wonderfully by its four leads. Another great A24 movie to add to the list. QUENTIN Be it expectation management, personal life experiences (if you catch my drift), or the trailer revealing way too much, I really don’t get all the hype for The Invite . The performances are great, no doubt, and I can’t deny feeling some emotional catharsis at the end; however, the journey to get there is merely fine. Amusing? Sure. Hilarious? Not remotely. Also, Angela (Olivia Wilde) veers so hard into unlikeable territory that it makes Joe (Seth Rogen), her antagonistic husband, seem somewhat reasonable, which ruins the narrative balance and power dynamic of the unhappy couple. If you choose to RSVP, maybe prepare to be disappointed.

PRESSURE Starring: Andrew Scott, Brendan Fraser, Kerry Condon, Chris Messina, and Damian Lewis Director: Anthony Maras ADRIANO Pressure is the final boss of dad movies. It’s instantly forgettable despite everyone’s best efforts, and is bound to be viewed on television, cut off by commercials. The overdramatization, clearly designed to appeal to the old-guard Oscar voter, can be laughable, and it shatters my heart to say that Brendan Fraser was miscast. But at least Andrew Scott gives another great performance despite a poorly written character. I suppose I felt the tension as the walls started coming in, but Pressure didn’t end up saying much beyond historical fact, which is the most dull biopic approach. BODE It may seem difficult to provide a fresh perspective on such a familiar event as D-Day at this point, but with Pressure , writer-director-editor Anthony Maras managed to find one. It just so happens to relate to the weather. Shockingly enough, I found that Maras and co-writer David Haig (whose 2014 stage play is this film’s source material) do a pretty satisfying job wringing legitimate suspense and pathos out of that particular focus. It helps to have a solid ensemble fronted by the likes of Andrew Scott and Brendan Fraser, whose battle of egos make this dad movie worth a sit.

PASSENGER Starring: Lou Llobell, Jacob Scipio, Miles Fowler, Alan Trong, and Melissa Leo Director: André Øvredal NICK Passenger is an average horror film featuring two terrifically crafted scenes that will stick with you. If only director André Øvredal was able to maintain that tension throughout, this would have been an instant horror classic. Unfortunately, that’s not the case and the film is plagued by clichés, an inability to reach a second gear, and a disappointing ending. There’s definitely something to telling a horror story through the lenses of the nomad community, but much like the two scenes I mentioned above, it feels like Øvredal put singular ideas to screen over a well fleshed out film. PAIGE Despite starting off fairly strong, Passenger fizzles out as its runtime progresses. This creepypasta horror film is certainly atmospheric, but it lacks depth and quickly becomes repetitive. It's cliché after cliché, filled with downright bad dialogue and bland characters that you don’t care for. Don't get me wrong, there's a scene in the woods featuring a projector screening Roman Holiday that will visually stick with me, but not much else from this movie will. In the end, while it's stylish and features some effective camerawork, Passenger's story is half-baked and lacks ambition.

TOGETHER Starring: Dave Franco, Alison Brie, and Damon Herriman Director: Michael Shanks NICK As I stated in my Fantasia preview HERE , I was looking forward to Together . It had received positive buzz, and the marketing really played into the body horror. While that is certainly an aspect of the film, I wish it was more prominent, as this was visually much tamer than I'd expected. It’s more focused on the relationship challenges of Dave Franco and Alison Brie's Tim and Millie. In that sense, it works well as both give solid performances, but in the horror sense it leaves a little to be desired. It’s fine but I wanted this one to make me squirm in my seat. ADRIANO Slight bumps called The Monkey and Opus aside, 2025 has been a really solid year for horror, and Together is here to continue that trend. With its gnarly concept and gleefully deranged tone, the film offers the kind of darkly funny body-horror thrills you would want. Where the movie loses me is with the obvious codependency metaphor. As good as real-life couple Dave Franco and Alison Brie are, the movie doesn't quite get to the root or do anything particularly interesting with its ideas. Still, that doesn't in any way diminish the thrills you'll endure. ROBERT Together tells a classic story: boy (Dave Franco) meets girl (Alison Brie), boy and girl attempt to salvage their relationship, and then boy and girl must unravel a mystery before both their bodies merge into one… a tale as old as time. Together delves into the complex nature of adult relationships, looking at codependency and losing self-identity, while holding a creepiness factor and macabre humor that go hand-in-hand. One minute I’m shifting uncomfortably in my seat, and the next I’m belting out in laughter. Both Franco and Brie understand how to spotlight toughness in a partnership, and that understanding makes this film entertaining. PAIGE Together is a gnarly body horror film that is elevated by the performances of real-life couple Dave Franco and Alison Brie. Their chemistry is undeniable and breathes life into this film, giving it layers of not only terror but also romance and humor. While its themes of codependency may be a bit on the nose, this absurd flick is certainly a great date night movie for couples who love horror movies. The atmosphere throughout the movie feels claustrophobic and unsettling. Director Michael Shanks crushes it in his directorial debut, quite literally taking inspiration from the line in The Substance , “you are one.” QUENTIN Although a little too obvious, Together is an excellent metaphor for codependency and the feeling of relationship complacency. The chemistry between real-life married couple Dave Franco and Alison Brie holds the movie together through a slow start before director Michael Shanks drops in a few solid jump scares and the twisted body horror. All involved are especially adept at knowing when to lean into the dark humor of the situation as much as the terror. Even though it goes off the rails a bit towards the end, including a final shot I don’t exactly love, Together is one of 2025’s best horror offerings.

ETERNITY Starring: Miles Teller, Elizabeth Olsen, Callum Turner, John Early, Olga Merediz, and Da’Vine Joy Randolph Director: David Freyne NICK If you’re in love with two people at different points in your life, how is that handled in the afterlife? That’s something I’ve wondered, and something Eternity sets out to answer. It’s an interesting premise that works, thanks to the charm of Miles Teller and Elizabeth Olsen as they embody their younger selves. However, Eternity fails to reach the depth its thesis deserves. Although it creates suspense by exploring every avenue for Joan (Olsen), when the time comes for a decision, you can't help but wonder if the outcome was the right one. It’s fine, but it feels like it could’ve been something more. ADRIANO The question of how and who to spend post-life with is a tough one, and yet, Eternity confronted that idea pretty safely. At least it was sincere, giving real weight to some of the more powerful moments. The world-building is interesting, and Elizabeth Olsen, Miles Teller, and Callum Turner all deliver great performances. My issue is that the movie clearly was winding up for a bittersweet tearjerker, but it spent too much of the third act creating diversions to hide the inevitable finale. That's not to say Eternity is not emotional; it's just nothing special. AMARÚ Eternity is a crowd pleaser that balances not falling too far into its serious themes nor leaning too much into tragic dark humor. Joan's (Elizabeth Olsen) difficult choice on which husband to spend eternity with hit me in the heart, primarily due to Olsen’s endearing performance. The amusing dynamic between her, Miles Teller, Callum Turner, and Da’Vine Joy Randolph brings an old-school comedic timing that, at times, hits the right tone, and, at others, is a little hollow. Ultimately, though, director David Freyne brings a complicated realism to how we think about love, life, death, and soulmates. It’s real, it’s messy, and it’s entertainingly sweet. PAIGE A24 continues to prove they have a handle on all genres. Eternity may not be the most romantic or surprising movie, as the writing is pretty much on the wall with where you think the story is going, but that doesn’t take away from the fact that this flick is a total delight. Its clever concept focused on love and the afterlife is both charming and unexpectedly quite funny. Our leads, Elizabeth Olsen, Miles Teller, and Callum Turner, bring so much charm, while the supporting cast, Da’Vine Joy Randolph and John Early, add the humor.

FOUNTAIN OF YOUTH Starring: John Krasinski, Natalie Portman, Eiza González, Domhnall Gleeson, Arian Moayed, Laz Alonso, Carmen Ejogo, and Stanley Tucci Director: Guy Ritchie ADRIANO For a filmmaker like Guy Ritchie, who is full of style and juice, Fountain of Youth is depressingly lacking any of those hallmarks. It's the most Netflix movie imaginable, except this one happens to be on Apple. Personally, I don't believe John Krasinski has movie-star charm, and the movie lacks a lot because of it. The story is fine, the action is fine, and there is nothing inherently offensive here, but it's sad to see Ritchie direct something so flat and empty in a style that is far too passing to be fun. QUENTIN As a fan of globe-trotting treasure hunt movies like National Treasure , Indiana Jones , and even the less-than-stellar Sahara , Fountain of Youth scratches an itch that has long needed scratching despite lazily ripping off all the aforementioned titles. Sadly, the “been there, done that” of this particular story saps the cool wonder these types of movies usually elicit, not to mention that it rarely feels like a Guy Ritchie movie, which, as a fan, is disappointing. However, John Krasinski's playfully roguish charm and my admitted genre bias do more than enough to kickstart a franchise I’d gladly continue watching, especially if National Treasure 3 isn’t happening. BODE Watching Fountain of Youth , you can tell that director Guy Ritchie and screenwriter James Vanderbilt have played Uncharted because it arguably captures the spirit of that video game better than its own movie adaptation at times, especially visually. It proves that shooting these globe-trotting blockbusters on location matters, even if they bypass a theatrical release like this one. It’s just a shame that, despite some fun bits, the film never rises above average, seemingly settling on predictability. It doesn’t help that John Krasinski and Natalie Portman never fully gel as siblings. It’s definitely not incompetent. It’s just forgettable. NICK Had Fountain of Youth come out in the early 2000s, I may not have enjoyed it as much; however, as movies like this are far rarer nowadays, it was a nice treat. A throwback adventure title, it evokes memories of films like The Mummy and National Treasure with John Krasinski in the Brendan Fraser/Nicolas Cage role. It’s nothing you haven’t seen before, and I caution any expectation of a “Guy Ritchie film” as his trademark style is missing in action, but it’s a nice comfort watch from a neglected genre. Sometimes that’s all you need.

DISENCHANTED Starring: Amy Adams, Patrick Dempsey, Gabriella Baldacchino, Maya Rudolph, Idina Menzel, James Marsden, Yvette Nicole Brown, Jayma Mays, Griffin Newman, and Alan Tudyk Director: Adam Shankman AMARÚ Disenchanted works best when it’s deconstructing fairy tale tropes. Amy Adams (Giselle) vs. Maya Rudolph (Malvina) as dueling evil queens, Gabriella Baldacchino (Morgan) sarcastically calling out her magical stepmother, and James Marsden (King Edward) going full Prince in real life was all a charming return to form. But the fine line between satire and Disney fantasy was too often blurred, forgoing smart parody for boring princess-story clichés, which sporadically disengaged me from the film. Less time in the musical fairy tale and more time in reality would have done this sequel some good. JACOB Unfortunately, Disenchanted continues one of the all-time bad movie streaks for one of our greatest actresses, as Amy Adams is forced to carry any and all of the fun of this film on her shoulders while everything else crumbles around her. Every idea seems to stem from the idea that the sequel had to happen rather than it being something people actually wanted to make. Each character not named Giselle (Adams) is at best two-dimensional, none of the songs are remotely as good as the predecessor’s, and every set feels like a soundstage. It’s not unseemly bad, but it’s bad.