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RAYA AND THE LAST DRAGON Starring: Kelly Marie Tran, Awkwafina, Gemma Chan, Izaac Wang, Daniel Dae Kim, Benedict Wong, Jona Xiao, Sandra Oh, Thalia Tran, Lucille Soong, and Alan Tudyk Directors: Don Hall, Carlos López Estrada, and Jon Ripa JAMES I wasn't prepared for how beautiful this film would be. Sporting some of the lushest artistry I've ever seen in a Disney movie, the stunning images are complimented by a soaring orchestral score that ranges from Southeast Asian drums to 90s synthesizers to transcendent choral arrangements. I was likewise blindsided by how relevant the story was: like our world, Raya's is divided by self-interest and powerplay, so trust has become the rarest of human qualities. I usually don't buy into stories where people overcome their tribalism, but this film earnestly sells its tale of teamwork amidst a damaged world. JACOB Raya and the Last Dragon is Disney’s most ambitious animated feature in years, with easily the most to say of any non-Pixar film (besides Zootopia ). The story's setting is similar to Black Panther , but with Southeast Asian mythos informing its characters and plot. The film makes short work of getting the viewer invested with beautiful animation and an incredible score by James Newton Howard. It does miss out on some opportunities to explore the more nuanced sides of trust and betrayal, but partly makes up for it through stellar action and genuine emotional depth.

WHITE MEN CAN'T JUMP Starring: Jack Harlow, Sinqua Walls, Teyana Taylor, Laura Harrier, Lance Reddick, Vince Staples, and Myles Bullock Director: Calmatic AMARÚ There are two seconds in White Men Can’t Jump where I thought Jack Harlow had some charm. The hope those moments provided didn’t last long. This unnecessary remake is jankily edited, poorly written, and hastily paced. Nothing on screen feels natural, especially the attempts to recapture the original’s poignant race-heavy dialogue. Harlow and Sinqua Walls have a bit of chemistry, but when on screen next to comedic standouts Myles Bullock and Vince Staples, you realize how not up to par this film is to the original. When the comedic relief is better than the main characters, it’s a pretty bad look. QUENTIN Not that it needs to be said, but White Men Can’t Jump didn’t need a remake, and it certainly didn’t deserve one this lazy. The contentious camaraderie between Jack Harlow and Sinqua Walls pales in comparison to what Wesley Snipes and Woody Harrelson had, and all the racial commentary of the original has been reduced to a slew of “white people be like…, black people be like…” jokes. There also is a completely needless subplot with one character’s father (though it was nice to see Lance Reddick one last time), while the basketball scenes aren’t all that fun or exciting. Overall, this is a total brick.

THE SHADOW STRAYS Starring: Aurora Ribero and Hana Pitrashata Malasan Director: Timo Tjahjanto ADRIANO Fifteen minutes into The Shadow Strays , two badass ninjas cut multiple heads off, gun down multiple people, and slice folks up. So, suffice it to say, I fell for this movie quickly. The Shadow Strays rarely lets up with its ultra-violence, and when it does, it elevates the characters and the world around them. The movie never feels repetitive either, as director Timo Tjahjanto finds new and exciting ways to chop bad guys up…so much so that I found myself having a blast for all 144 minutes. If we truly are getting the sequel that is set up, bring it on. QUENTIN Writer-director Timo Tjahjanto seemingly makes one kind of movie, and to be fair, he’s really good at that type of movie. However, the problem is that to make each one more brutal and violent than the last, which is a tall task because they’re all viscerally action-packed, the only new thing he has to offer is longer runtimes. The Shadow Strays , his longest film yet, still packs the same bloody brutality as his other films, which is fun, but it drags at 143 minutes, resulting in a diminished entertainment factor. The carnage is there, but it gets unrelentingly repetitive and becomes almost exhaustingly too much. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

ALIEN: ROMULUS Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu Director: Fede Alvarez NICK Director Fede Alvarez has a knack for taking tired franchises and rejuvenating them for a new audience, and that's exactly what he accomplishes with Alien: Romulus . He has crafted a film that instantly immerses you thanks to some brilliant visuals and smart directorial choices, aspects that are only enhanced by the solid cast filled with up-and-comers (highlighted by a terrific performance from David Jonsson). The tension is palpable, the story is inventive, and the Xenomorph is never overexposed. Romulus isn't just a worthy successor to the Alien brand, it's among its best entries. ADRIANO In many ways, Alien: Romulus is a dream come true for this Alien fan. Combining the tension-filled eeriness of Ridley Scott's Alien and the contained action of James Cameron's Aliens , Romulus is an atmospheric action-horror film that is both successfully creepy and badass. Cailee Spaeny certainly is one hell of a heroine, but David Jonsson is the heartwarming standout. The film retreads its predecessors maybe a bit too much for my liking, and some of the fan-service references annoyed me, but overall, especially with the bonkers finale, I had a blast with this film. QUENTIN Considering Romulus takes place between Alien and Aliens , it makes sense that it seamlessly combines and transitions from the slow-burn horror of the former (the first hour) to the tense action of the latter (the second hour). Plus, it’s tremendously directed, with Fede Alvarez making great use of light and shadows to build dread while capturing some truly iconic shots that call back to the originals. And speaking of…the Easter Eggs are plentiful for Xenomorph stans without feeling too forced, which is nice. This is easily the best franchise offering since 1986, and if you only watched Alien , Romulus , and Aliens , you’d have an excellent trilogy. AMARÚ Fede Alvarez directed the hell out of Alien: Romulus , utilizing light, shadow, and great sound design to create momentous tension without relying on it. Instead, it enhances a plot, which much like the first two Alien films, is mightily propelled by the main group’s relationship with a synthetic, played phenomenally by David Jonsson. The relationship between Andy (Jonsson) and Cailee Speany’s Rain endears us to the story and the rest of the crew, and while Alvarez’s third act takes big horror swings that may not work for everyone, the captivating balance of thrills, character, sound, and visuals creates a solid addition to the franchise. PAIGE Despite the fact that Alien: Romulus may not bring anything new to the franchise, director Fede Alvarez successfully evokes the ascents and terror of 1979's Alien while also including numerous callbacks to other films in the series. Though there isn't much tension in the movie, David Jonsson's dad jokes and Cailee Spaeny's performance offer just the right amount of emotional impact to keep viewers interested. Plus, it’s packed with beautiful visuals, stellar practical effects, and a fantastic sound design. I just wish it established its own identity instead of feeling like a love letter to the franchise. KATIE Alien: Romulus executes its simple but impactful premise with grippingly gruesome precision, bringing new blood to the franchise whilst honouring its predecessors. Plus, David Jonsson and Cailee Spaeny are just fantastic in the lead roles, standing out amongst the rest of the cast. Jonsson’s impressive performance ranges from unsettling to endearing, and Spaeny solidifies her rising stardom. There are plenty of callbacks to the previous films that don’t totally make sense, but they’re subtle enough to not break the immersion too much. Overall, Romulus is totally predictable but far from boring, brimming with atmosphere, action-packed set pieces, and impressively gory effects. PRESTON I have a confession to make…I haven’t been the biggest fan of the Alien movies. I liked that Warrant Officers got a well-deserved nod, but that is about as far as my appreciation goes. But this latest Alien (tribute) film is, surprisingly, my favorite so far. There were a lot of Easter Eggs lost on me, but the updated technological production elements, visual effects, and storyline are a much-needed improvement from past films. Plus, David Jonsson (Andy) provides a lovely, nuanced performance with a character whose development arc is the highlight of the film.

MASTER GARDENER Starring: Joel Edgerton, Sigourney Weaver, Quintessa Swindell, and Esai Morales Director: Paul Schrader JACOB Paul Schrader rounds out his trilogy of broken men sitting at desks with single lamps and a glass of whiskey in what’s likely to be one of his more underrated films. Yet another story of self-redemption, Master Gardener isn’t perfect; it is, however, an improvement over Schrader’s The Card Counter , and the gardens it explores are immaculately rendered. Joel Edgerton and Quintessa Swindell both give excellent performances, but it’s Sigourney Weaver who steals the show any time she’s on screen. That said, this brand of Schrader is subject to diminishing returns, and although I enjoyed it, it’s no First Reformed . ADRIANO I have a weird relationship with Paul Schrader’s directorial efforts. While I loved First Reformed , I found The Card Counter to be much weaker; I find myself smack dab in the middle with Master Gardener . Schrader clearly has a knack for moral complexities in his characters, but, powerful performances aside, the film doesn’t always feel engaging enough. That said, there is a silent beauty hidden under the surface that caught me by surprise given the film’s cold exterior, and that made it a worthwhile experience even if I’ll probably never watch it again. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

EVIL DOES NOT EXIST Starring: Hitoshi Omika, Ryo Nishikawa, Ryuji Kosaka, and Ayaka Shibutani Director: Ryûsuke Hamaguchi PAIGE Evil Does Not Exist is a slow-paced, peaceful story about humans and their relationship with nature, as well as a commentary on the importance of preserving our natural resources. With a fantastic score and beautiful scenes throughout, I found myself more and more interested until I reached the third act. While I thought that the story would play out one way, the third act takes a somewhat out-of-the-blue turn that feels a bit abrupt and out of place. I didn't see it coming, that’s for sure, and maybe the metaphoric ending just needed more lead up to make sense. ADRIANO Not many directors can make an elongated wood-chopping sequence captivating, but that's what Ryûsuke Hamaguchi pulls off in Evil Does Not Exist as he takes on the environmental crisis with care and insight. The landscapes of the film are stunningly well shot, and the characters on both sides are handled with depth in a way that doesn't villainize anyone. Unfortunately, the final ten minutes take a turn for the worst, feeling like a completely different film that ditches the subtly for thrills. All in all, a once brilliant film that falls flat in the end. This film was reviewed by Adriano and Paige as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 New York Film Festival, respectively.

WOMAN OF THE HOUR Starring: Anna Kendrick, Daniel Zovatto, Tony Hale, Nicolette Robinson, and Autumn Best Director: Anna Kendrick NICK There’s a lot that works great about Woman of the Hour . Much like Patricia Arquette’s directorial debut, Gonzo Girl , Anna Kendrick shows great sensibilities behind the camera as she covers renown murderer Rodney Alcala’s appearance on The Dating Game , but with the focus placed on his victims. The only hiccup is the performance of Daniel Zovatto as Alcala. Not only is he lacking the necessary charm, but he fails to feel truly menacing in the tense moments. Don’t get me wrong, this is still a very solid feature, but I would have liked to see where someone else would have taken things with the role. ADRIANO Colour me surprised because Woman of the Hour is quite good. Some moments certainly feel like they were only there to pad the runtime since they didn't add anything we didn't already know or because they felt unearned, but Anna Kendrick's direction gives way to not only a freakishly intense final twenty minutes, but also a thrilling commentary on how men are able to manipulate women. Kendrick is as delightful as she always is, and Daniel Zovatto is as charming as he is creepy, and though not without its flaws, Woman of the Hour is a hell of a debut. KATIE Woman of the Hour is an impressive directorial debut from Anna Kendrick, who is also very compelling in the lead role as amateur actress Cheryl Bradshaw. Her direction builds chilling suspense, utilising a non-linear narrative to drip-feed information about the heinous crimes of Rodney Alcala, played by a deeply unsettling Daniel Zovatto. She achieves this without being exploitative, ensuring the victims are humanised characters, a disappointingly common issue in films about serial killers. Kendrick also cleverly highlights the all-too-familiar experience of women passively smiling and laughing off potentially unsafe situations, giving the film a timely, relevant feel despite its 1970s setting. PAIGE Woman of the Hour is a chilling film that attempts to explore misogyny, but just misses the mark for me due to it being too surface-level of a story. While Daniel Zovatto delivers a quite unsettling performance as Rodney Alcala, the movie’s nonlinear and fragmented structure holds it back from truly being suspenseful. Don’t get me wrong, this is a solid directorial debut from Anna Kendrick, and I’m eager to see what she does next behind the camera. However, with a tighter script, this could've been a more prominent thriller. AMARÚ I wrote HERE that I would love to see Anna Kendrick play a Quentin Tarantino villain one day, and her directorial debut, Woman of the Hour , proves just how dark and twisted she can get. Her excellent use of score, lighting, and blocking escalates the tension for intertwining time jumps that, while doing a great job of setting up an otherwise tight script, left a little bit to be desired on the story front. However, once the film settles into a single timeline, Kendrick’s charmingly awkward performance alongside Daniel Zovatto’s spine-tingling creepiness carry the film to an interesting finish. PRESTON The fact that the story behind Woman of the Hour is true carries the film a long way. Anna Kendrick (Sheryl Bradshaw) does all the right things in her directorial debut, but the story still comes across as a bit anemic. It’s unlayered approach causes some of the nuanced character portrayals and the old-timey, misogynistic messaging to fall flat. Daniel Zovatto (Rodney Alcala) does a fantastic job of giving serious, creeper vibes throughout the film, and the crazy outcome does manage to escalate the pulse. A solid first outing for actor, and now director, Anna Kendrick. QUENTIN In her directorial debut, Woman of the Hour , Anna Kendrick uses the true story of Sheryl Bradshaw’s (Kendrick) and Rodney Alcala’s (Daniel Zovatto) shared appearance on The Dating Game to frame an examination of the misogyny and manipulation, both violent and subtle, that women have been forced to endure for decades, aptly exploring that topic from multiple angles: the caring boyfriend, the friendly neighbor, the charming suitor, the well-loved celebrity, the trusted authorities, and more. It’s a troubling look at the constantly gaslit existence women must fight against, told with a directorial flair that suggests Kendrick has a bright future ahead of her behind the camera. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

ENCANTO Starring: Stephanie Beatriz, Diane Guerrero, Wilmer Valderrama, Angie Cepeda, Rhenzy Feliz, Carolina Gaitan, Jessica Darrow, Adassa, María Cecilia Botero, Mauro Castillo, and John Leguizamo Directors: Jared Bush and Byron Howard JACOB Though not flawless, Encanto is a movie full of joy that families are sure to fall in love with. It bursts with life and color in every frame, and while the songs may not be Disney’s strongest lyrically, they’re all deeply infused with a Colombian energy worthy of the wonderful instrumentation throughout. The story itself takes a few narrative shortcuts at the film’s expense (namely in the third act) and it all wraps up a bit too neatly, but the ultra-detailed animation and fun characters make up for most of that. It would seem the Disney formula still makes magic. ADRIANO Simply speaking, I was delighted by every moment of Encanto . As per the case with most of Disney’s animated efforts, it’s gorgeously animated, it’s really funny, and it hits you directly in the feels. Lin-Manuel Miranda's original songs are both catchy and powerful, and they pair well with the film’s themes of family and self-worth, as well as the culture it’s representing. My only real gripe is that I had to see it in 3D, which I truly hate. Other than that, this movie is undeniably charming. NICK The recent focus on animated features delving into different cultural backgrounds has been refreshing, but doing so doesn’t guarantee a great film, which is evident here. Similar to Pixar's Onward , Encanto is just sort of there. It’s notes of Happy Feet with a magical twist, and that works fine. Unfortunately, in a year of musicals, most of the songs here are forgettable the moment they end. That is really what plagues this film overall… it just isn’t as memorable as its predecessors. The animation is gorgeous as expected, but otherwise this was a bit of a letdown.

EMPIRE OF LIGHT Starring: Olivia Colman, Micheal Ward, Colin Firth, Toby Jones, and Tom Brooke Director: Sam Mendes NICK There is something so pure and comforting about an Olivia Colman performance because she injects such added humanity into all of her films. Sam Mendes’ Empire of Light is a film that relies too heavily on that humanity without fleshing out a proper story. The setup is lovely, but at the midway point, the film almost becomes something completely different. Even the cinematography by Roger Deakins (who creates the beautiful opening credits) feels like it shifts. The story eventually branches out beyond its means, rushing to some unnecessary conclusions. Sometimes, less is more. ADRIANO Empire Of Light is the definition of lipstick on a pig. From a technical standpoint, it is flawless. Roger Deakins’ cinematography is stunning, while Trent Reznor and Atticus Ross’ score is magical. Micheal Ward is great too, but Olivia Colman is fantastic, even by her standards. That said, the script fails this film. It's not the worst thing ever written, but it juggles too many barely related concepts, including an underdeveloped love story, a poorly written study of mental health, and half-assed racial politics. Admittedly, the “power of cinema” stuff worked on me, but this movie is just weak Oscar bait. QUENTIN For a cinephile, a film billed as “a love letter to the magic of cinema” seems like a no-brainer. However, despite beautiful cinematography and the art deco design, Empire of Light is such a mundane movie for boomers that I expected to be handed an AARP brochure when it ended. Not only is it a bore, but it’s a scattershot approach to various unrelated things that writer-director Sam Mendes seemingly cares about. Is it about cinema, racism, or mental illness? It’s about all of them and none of them, with Mendes failing to give us a reason to care as much as he does. JACOB While Empire of Light is often beautiful to look at and boasts a beautifully composed score (when it’s heard, anyway), the overall experience is just a bit dry. That’s not to say it’s entirely boring or devoid of meaning, but it doesn’t seem to know what it wants to be about, subtextually. Love, desire, mental health, white supremacy – these are all concepts the movie features but doesn’t use in effective ways to enhance the story. Meandering in some films can be a good thing, if it’s the point; unfortunately, this film doesn’t seem to have much of a point at all. DARRYL Empire of Light is a finely crafted film that, while touching on a number of subjects, fails to fully explore any of them. Even with outstanding performances from Olivia Colman and Micheal Ward, the story’s refusal to commit to any of its ideas overshadows the entire project. Somewhat lesser than the sum of its parts, the final product does not completely live up to its potential. Still, there is plenty to love, including top notch cinematography by Roger Deakins and impressive technical work from director Sam Mendes and his crew, making this a strong awards season contender. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE MENU Starring: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, John Leguizamo, Judith Light, Paul Adelstein, Aimee Carrero, Janet McTeer, Rob Yang, Reed Birney, Arturo Castro, Mark St. Cyr, and Hong Chau Director: Mark Mylod NICK Forgive the food pun, but The Menu is a delicious piece of cinema. The well-crafted story moves at a brisk pace, combining humour, tension, and suspense to create a truly unique film. Ralph Fiennes will deservedly be the most recognized performance, but this is a pure ensemble piece. Everyone has a specific part to play, and each is necessary to complete the puzzle of the film. It's truly a case of the story outdoing any one performance, thanks to the excellent script by Seth Reiss and Will Tracy. A thoroughly enjoyable ride that, most importantly, sticks the landing. QUENTIN Who wants some food wordplay!? The Menu is a dark and decadent experience made up of the finest ingredients and several surprises. The amuse-bouche sets up the entrée of the story perfectly, and the expertly prepared main course of Ralph Fiennes and Anya Taylor-Joy are well garnished by a number of complementary side dishes. My lone complaint is that the two-part dessert didn’t work for me entirely, with one part being to die for while the other felt a little half-baked. Still though, this is a meal that left me satisfied, wowed, and eager for more from Chef…err, director…Mark Mylod. It’s worthy of the hype. ADRIANO The Menu is one of those movies that feels like it was cooked up specifically for me, as director Mark Mylod creates such a weirdly tense atmosphere that also has room for laughs somehow. You can tell instantly that something is off, and the slow build-up to the various reveals is super entertaining, not to mention that the entire cast, led wonderfully by Ralph Fiennes and Anya Taylor-Joy, is fantastic. This is a very clever satire on class and fine dining culture that is a true feast to behold. AMARÚ Going into The Menu knowing little-to-nothing about the plot enhanced the mystery of this meticulous and well-acted cat-and-mouse thriller. Every scene, word, and musical note felt as deliberate as the painstakingly curated menu that Ralph Fiennes’ Chef Julian Slowik put together for his exclusive guests. But like many fine dining restaurants that overcharge for two bites of “food,” you end up with a dazzling experience and an empty stomach. The film seemingly pulled its punches because there was certainly more fight to be had amongst these characters. Although surprising, intriguing, and darkly humorous, The Menu left me wanting more conflict within its deftly assembled story. PAIGE Yes, chef, I can attest that The Menu is deliciously good! This dark satire uses the cuisines it’s serving as a metaphor for high class privilege, which provides plenty of spice for its audience. The flavorful script is excellently directed by Mark Mylod, who elicits outstanding performances from Ralph Fiennes and Anya Taylor-Joy. Some may walk away not completely satisfied from what is served, but I enjoyed every last bite. Plus, it keeps you on your toes because you never know what is possibly coming next. JACOB There are a lot of things to like about The Menu : its stellar performances, its crackling script, and its horrifically beautiful (and occasionally funny) depictions of food and recipe cards. However, it does give off the feeling that it thinks it’s smarter than it actually is. Once one clocks the metaphor/message being played out, the themes of the movie continue to hit like a blunt-edged sledgehammer, refusing to let the audience interpret them with additional layers. That said, it is a deliciously fun time to have at the movies, even if I don’t think it’s the firecracker everyone else seems to think it is. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

FERRARI Starring: Adam Driver, Penélope Cruz, Shailene Woodley, Gabriel Leone, and Patrick Dempsey Director: Michael Mann QUENTIN While not a bad movie by any means, Ferrari never makes a case to justify its existence. Yes, from a craft perspective, it’s obviously very well done, from Michael Mann’s direction to the performances of Adam Driver and Penélope Cruz; however, the main story is about a man that isn’t particularly interesting. Enzo Ferrari (Driver) is never shown to be a ruthless tyrant, a savvy businessman, or a brilliant car designer. He’s just a dude who has marital problems. Ferrari is only truly compelling during the too few race sequences, which are beautiful and picturesque (two scenes in particular elicited audible gasps from the audience). AMARÚ Ferrari looks and sounds epic much like an opera looks and sounds epic. It’s loud, boisterous, and passionate. Yet, since I inherently don’t understand the words, the emotional impact doesn’t hit as hard as it should. I’m not saying I couldn’t understand the dialogue (though some of the accents are a bit off-putting, honestly), but many of the conversations feel like grand opuses with empty importance. I could feel Penélope Cruz’s bubbling rage. I could feel Adam Driver’s cold determination. I could feel the race car engines’ roar in my bones. But will I remember the point of that fervor tomorrow? Probably not. ADRIANO Director Michael Mann is back with Ferrari , and the result is an exciting thrill ride through a mixed bag. Adam Driver and especially Penélope Cruz shine bright; however, from an emotional angle, though the film tries its best, it mostly lacks any real connection. Overall, I found that the narrative struggled in the beginning (and it's worth pointing out that Shailene Woodley is terrible), but thankfully, I was invested enough in the story in the second half to be engaged. The pacing is well constructed and entertaining too, which is enough for this ride to be a worthwhile one. PRESTON I was so excited for Ferrari , but alas…*sigh*. While it isn’t anywhere near the bottom of 2023 releases, it certainly isn’t at the top either. With Penélope Cruz’ performance as the highlight (Adam Driver is a close second), there is little else to praise. Issues included…*deep breath*…bad and inconsistent accents, unexciting racing scenes, a completely unfocused script, I had no idea who half of the characters were, and the pacing is so wonky that it made the film feel twice as long as it really is…*exhale*. Basically, this one drives right up the middle of the road. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

GOOD GRIEF Starring: Daniel Levy, Ruth Negga, Himesh Patel, Luke Evans, Arnaud Valois, David Bradley, and Celia Imrie Director: Daniel Levy KATIE Good Grief is a stylish and cozy, if slightly forgettable, comedy-drama that is surprisingly light-hearted despite its emotional themes. Firmly planted in rom-com territory, the luxurious interiors and warm lighting channel the affluent sets of Nancy Meyers, and the friendship dynamics and glossy city locations reminded me of Richard Curtis films. Combined with heartfelt and convincing performances, Good Grief is a comforting and easy watch since it avoids delving too deep into the heavier ideas it presents. Whilst it falls short of delivering a satisfying emotional impact, it is a solid debut feature for Daniel Levy. ADRIANO Between this and Schitt's Creek , it seems like Daniel Levy has a real knack for authentic feel-good sentimentality. However, unlike that show, Good Grief lacks compelling charm outside of its sweetness. Levy's direction is, at worst, competent, and at best, well-thought-out. It's the writing that's the real problem here. It really feels like the message of finding true love after death is kind of an excuse to make people get some cheap feels in a rather wonky film. When the film hits its highs, you do feel something special, but the highs are very few and far between. PAIGE While Good Grief is a respectable feature directorial debut from the charming writer/director Daniel Levy, this bittersweet drama falls short of its potential. It succeeds in painting an honest picture of friendship and loss, but at times, it feels underwritten as it struggles to tie those two ideas together. In a way, it has a lot to say and little to feel, but its heart is in the right place. It just tries a little too hard to wrestle with the heavy topics at hand. All in all, it is a whimsical, heartfelt affair despite being far from perfect.