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THE POWER OF THE DOG Starring: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee Director: Jane Campion JACOB Film lovers unaware of writer/director Jane Campion should be rocked when they discover her via The Power of the Dog . Although its first half is slow, this methodical treatise on predatory abuse and its generation-permeating infections leaves an appreciable impact on the viewer. Each and every performance is in top form – especially Benedict Cumberbatch and Kodi Smit-McPhee – but Campion is the real star of the show. Her control is felt over every minute of story, over every shot and line delivery. Even as it ages, this one is going to stick with me for a long, long time. JAMES It seems we’re inundated in Cumber-dramas these days, and The Power of the Dog is one you don’t want to miss. It’s a film that constantly surprises, using the tropes of the western genre to subvert your expectations. Phil (Benedict Cumberbatch) is a truly nuanced character. By turns, I rooted for him, hated him, and felt sorry for him. He’s a man of contradictions: lovable for his devotion to his work, despicable for his treatment of Rose (Kirsten Dunst). This film is a cautionary tale of what happens when we choose to tarnish others’ joy instead of celebrating it. JOSEPH The Power of the Dog may just be the moodiest, dreariest film of the year. Packed with talent, the film boasts nearly everything that makes for an award winner, except it’s incredibly dull. It’s mostly just a compilation of beautiful nature shots, people solemnly staring at the camera, and some vague connecting threads that create something that resembles a story. Thankfully, despite how bored I was, I can confidently say each actor gave a fantastic performance, but it just wasn’t enough to save this movie for me. ADRIANO The Power of the Dog is a gripping slow burn worth every single second. Writer/director Jane Campion’s latest is a tense and miraculously crafted western that plays as a very effective examination of toxic masculinity. This is, hands down, one of the year's best ensembles, led by Benedict Cumberbatch at his absolute best…but Kodi Smit-McPhee is the revelation here. Campion’s attention to detail is superb, the story is unbelievably captivating, and I do not see how that ending is gonna leave me any time soon. QUENTIN First, a random hot take: There Will Be Blood is extremely overrated. I tell you that to give context for the rest of my review. Now… The Power of the Dog is a mix between There Will Be Blood and another (in my opinion) extremely overrated Oscar darling that I can’t name here because it would take us to Spoilertown. Admittedly, the cinematography is absolutely gorgeous and the performances are good-not-great. However, it’s a slow-moving bore that would rather be about masculinity in the artful abstract than tell a gripping story. It’s for only the most pretentious of film nerds.

TRAIN DREAMS Starring: Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Nathaniel Arcand, Clifton Collins Jr., John Diehl, Paul Schneider, and Will Patton Director: Clint Bentley ADRIANO Through its hazy narrative structure, which is like watching a collection of memories accompanied by a stunning score from Bryce Dessner, Train Dreams emerges as one of 2025's best films. Featuring a career-high performance from Joel Edgerton, director/co-writer Clint Bentley takes audiences through the stunningly shot life of an early 20th century labour worker, through the highs and devastating lows. It's an emotional tour de force, showcasing tender meditation and powerful perseverance; you won't find a film that balances stark realism with an alluring dream-like atmosphere like this. If you can get on its wavelength, Train Dreams will stick with you. NICK Watching Train Dreams is like exploring a museum. The cinematography is akin to watching a painting move across the screen, the storytelling is straight out of a poem, and it's all coated in history as it moves through the evolution of the world in the early 20th century. Although Joel Edgerton's performance isn't flashy, it's exactly what this film needs, along with the pitch-perfect narration from Will Patton. There are moments the title can be taken too literally — as it almost feels like a lullaby at times — but Train Dreams ’ overall achievement in filmmaking won out, and frankly, impressed me. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

BARBARIAN Starring: Georgina Campbell, Bill Skarsgård, and Justin Long Director: Zack Cregger QUENTIN As a person who has a high bar for horror, Barbarian is one of the best horror films I’ve seen in several years. Admitting that I knew very little going in, it continually kept me in suspense, especially as it subverted many of my expectations, while boasting jump scares, creepy suspense, and palpable tension. The actors, while good, aren’t asked to do too much, as the movie mostly succeeds solely on its direction, writing, and score. It’s a genuine breath of fresh air for the genre, which, if you ask me, is pretty much anything that isn’t another sequel or spinoff of The Conjuring . JACOB Barbarian – sure to be dubbed by many as this year’s Malignant – is a wild ride. Although its start is a bit rough, it eventually settles into a pace more befitting its story…then abruptly turns the dial so you have no idea where it’s all meant to be heading until what the film is trying to say comes sharply into focus. The one thing I wish the film did better is commit to the ending it clearly wants to have, but still, anything that somehow blends Ti West, Terrence Malick, and Don’t Breathe… and still comes out this coherent…deserves praise.

KNOCK AT THE CABIN Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Abby Quinn, Rupert Grint, and Kristen Cui Director: M. Night Shyamalan DARRYL Knock at the Cabin shows that director M. Night Shyamalan still has gas left in the tank because this wonderfully directed and excellently paced movie fires on all cylinders. It’s an apocalyptic thriller that keeps the audience questioning who to believe, which creates an experience that will leave moviegoers thinking after the credits roll. Dave Bautista, Jonathan Groff, and Ben Aldridge are a fine leading trio, while the supporting cast conveys a desperation that makes the tension palpable. Overall, it highlights Shyamalan’s best traits, and it will go a long way to reminding viewers why they fell in love with his movies in the first place. NICK Knock at the Cabin opts for foreboding dread over the typical twists and turns you'd expect from an M. Night Shyamalan film, which makes it all the better. The film still features many of the director’s hallmarks, but he uses them in more subtle ways. This both builds suspense throughout and allows the performance of Dave Bautista, in particular, to really shine through. This is easily Bautista’s most emotionally driven showing yet, as he continues to show his range as an actor. The dialogue can be clunky, and I’m not sure I loved the ending's direction, but Shyamalan has continued his current streak of quality films. AMARÚ Director M. Night Shyamalan immediately sets an eerie tone in Knock at the Cabin . The film’s candidness is informed early on by introducing the movie with increasingly skewed close-ups during a conversation between standouts Dave Bautista (Leonard) and Kristen Cui (Wen). We’re diving headfirst into an unbelievable tale with full conviction. Interspersing the backstory of Wen’s family with the main plot allows us to trust both the doomsayers’ belief in their hellish task and the incredulousness of Wen’s family towards them. The honest cast, intense pacing, and bleak story create one of the more solid thrillers in M. Night’s filmography. ADRIANO However low the bar may be, Knock at the Cabin is not M. Night Shyamalan’s worst movie. He does a good job of building tension via the story’s thin concept, and he offers up a good moral question to boot. Also, it’s well acted across the board (namely Dave Bautista and Ben Aldridge). However, a lot of Shyamalan’s signature faults are here, such as awkward dialogue and bizarre cinematography choices, and all the tension is leading up to an inevitable ending that catches nobody by surprise. I was entertained for the most part, but still a whiff. JACOB Knock at the Cabin may be a complicated movie for M. Night Shyamalan fans to digest. Despite the director’s reputation, this might be his most straightforward movie ever, as well as one of his most bleak. Dave Bautista continues his streak of bringing unexpected humanity to otherwise dark characters, and Ben Aldridge gets a real chance to shine; however, the movie is pretty choppy in its editing, and the constant cutting to flashbacks releases a lot of tension in key moments where it’s needed. Overall, it’s not near M. Night’s top skills, but it’s far from his bottom. PAIGE Knock at the Cabin is a nail-biting home invasion thriller that keeps the tension boiling from start to finish. While it may not be director M. Night Shyamalan’s boldest film, it’s certainly his most grounded. It tackles themes of faith and sacrifice while making you wonder if you could make the decision at hand. Plus, its tight pacing allows the cast to deliver standout performances, especially from Dave Bautista. All that said, it’s definitely the type of film that is more tell than show. Overall, it just felt too straight forward to be an M. Night flick.

VENGEANCE Starring: B.J. Novak, Boyd Holbrook, Ashton Kutcher, Issa Rae, J. Smith-Cameron, Eli Bickel, Dove Cameron, and Isabella Amara Director: B.J. Novak NICK Who'd have thought a film that starts off so shallowly could be so insightful? B.J. Novak's directorial debut has a lot to say about relationships and the climate of our world, and in true 21st century fashion, it does so through a podcaster. When the film is a grounded, quasi-family story, it’s great. There are some very funny jokes and solid character growth. However, it falls apart in the final act. It relies on a few film clichés and undoes its good work by trying to be bigger than it needs to be. Still, an entertaining watch and solid launching pad for Novak. JACOB B.J. Novak’s Vengeance may not revolutionize murder mysteries or offbeat comedies, but it remains one of the smartest movies 2022 has to offer and a stellar debut for Novak in the director’s chair. While it doesn’t quite succeed at everything it sets out to do, Novak’s ingenious script offers three-dimensionality to characters most other Texas-set comedies would only poke fun at, confronting stereotypes head-on from both sides of the aisle in nuanced and often unexpected ways. The entire cast turns in excellent work too, but it’s Boyd Holbrook and Ashton Kutcher that end up stealing the show. QUENTIN In his directorial debut, B.J. Novak has a lot on his mind about the current state of America, touching on everything from aspirational fame, hook-up culture, small town bureaucracy, the exploitative true crime genre, and the Red State v. Blue State divide. It’s admittedly a lot, and while the commentary is sharper on some points than others, the gist of what he is saying in the less clever moments still is enough to get you thinking. That’s hardly a complaint though, as Vengeance remains darkly funny with an engaging mystery, not to mention the excellent performances from Boyd Holbrook and, of all people, Ashton Kutcher.

CHA CHA REAL SMOOTH Starring: Cooper Raiff, Dakota Johnson, Leslie Mann, Brad Garrett, Vanessa Burghardt, Evan Assante, Raúl Castillo, and Odeya Rush Director: Cooper Raiff PAIGE Cooper Raiff’s ambition as a writer, director, and actor is breathtaking, and he is forging his own path as a filmmaker by focusing more on characters and their growth as people first and foremost. Cha Cha Real Smooth is “Exhibit A” by being more than a love story, and its themes go so much further. It’s charming, heart-warming, and grounded. The cast’s chemistry feels so authentic and real that I fell in love with these characters to the point that I didn’t want to leave them when the film was over. It proves Raiff is an exciting young filmmaker to be on the lookout for. AMARÚ Writer, director, and lead Cooper Raiff bodied everything about Cha Cha Real Smooth . His portrayal of Andrew is fully authentic, and his palpable chemistry with everyone is a testament to his direction. Whether sparks fly with Dakota Johnson (Domino), compassion brims with Vanessa Burghardt (Lola), or love overflows with his family (Evan Assante, Leslie Mann, and Brad Garrett), there isn’t one unfulfilled moment. While some scenes feel cut off due to budgetary restrictions, the film’s honest writing says the things in life we try to hide out of fear and elevates it to being one of this year’s most satisfying movies. NICK Cha Cha Real Smooth is a film that delivers a wonderfully authentic portrayal of autism through solid performances across the board. It also features a sweet, relatable story, regardless of faith. So, why didn’t I love it? I liked it, sure, but something kept it from reaching that next tier for me. It just felt like a lot of “good,” but not a lot of “great.” Based on the love it’s been getting both critically and by my peers, I’m clearly in the minority, but this one just didn’t do enough to warrant that praise from me. JACOB The sophomore effort of director Cooper Raiff, Cha Cha Real Smooth , finds its star in even finer form as a filmmaker. The Shithouse helmer possesses the uncanny ability to mimic the softer sides of Richard Linklater without losing his own voice in the process, navigating conflicts with permeating empathy and enveloping warmth. Whereas his previous film felt more like a chapter than a full story, Cha Cha takes that same formula and stretches it to its logical endpoints without outright villainizing anyone. Raiff and co-star Dakota Johnson have genuine chemistry, and their individual connections with scene-stealer Vanessa Burghardt are palpable. ADRIANO Cha Cha Real Smooth played with all of my feels. I watched this film soon after my 21st birthday, and as a result, it couldn’t have hit closer to home. The anxiety and fear that the lead character feels in this era of his life is accurately represented, but never in a purely negative manner. In fact, director/writer Cooper Raiff portrays these feelings honestly and in a light and hopeful way. The movie is extremely funny, even as it goes into serious territories, and I appreciated the film for that. This is a tender film that I can see myself watching again and again.

QUIZ LADY Starring: Sandra Oh, Awkwafina, Will Ferrell, Holland Taylor, Jason Schwartzman, and Jon 'Dumbfoundead' Park Director: Jessica Yu KATIE Quiz Lady is an uneven yet entertaining comedy, rescued by the wholehearted performances of Sandra Oh and Awkwafina as estranged sisters who couldn’t be more different. Despite a bumpy script, the pair have an undeniable chemistry and seem to be having a lot of fun with their wacky roles. The film sharply pivots from slapstick and lowbrow comedy to tender moments of sisterly bonding, but I cannot deny that some scenes are laugh-out-loud funny. Plus, the opposing dynamic paired with the familiar chemistry between the sisters is hilarious. PAIGE Despite a somewhat conventional, ridiculous story and an uneven script, Quiz Lady is surprisingly effective in the laughs department. Both Sandra Oh and Awkwafina are outrageously hilarious playing against type, and their fantastic dynamic alone makes this cheesy but charming comedy worth watching. They compliment each other effortlessly, making this film such a fun, wild ride. With that said, the movie works better when it focuses on its sweeter, more intimate scenes between these two estranged sisters rather than its bombastic comedic scenes.

NEVER LET GO Starring: Halle Berry, Anthony B. Jenkins, and Percy Daggs IV Director: Alexandre Aja NICK Lionsgate has rolled out some of my least favourite films this year, so I didn't have high hopes for Never Let Go . Turns out, it was a nice surprise. Aside from trying to direct the viewer a little too strongly, it keeps you guessing what is real and what isn't. Both Anthony B. Jenkins (Samuel) and Percy Daggs IV (Nolan) engross you in the family drama while director Alexandre Aja creates a creepy and unsettling atmosphere for you to get lost in. It’s nothing revolutionary, but there have been FAR WORSE horror offerings this year. Give this a shot. PRESTON Never Let Go has some issues with its tension building, pacing, consistency in storytelling, and unsatisfying conclusion. Still, we are given an original plot concept, a thoroughly creepy setting, and some terrific acting by the whole cast. In fact, the cinematography, makeup, and visual effects are all good too. I didn’t think a rope tied to a house would play as a horror film, but director Alexandre Aja proved me wrong. It still would have been much better had it… Never Let Go of the initial tension - you knew a dad joke was lurking somewhere. AMARÚ Never Let Go is a creepy and chilling thriller that will have you questioning what’s real. Backed by strong performances from young actors Anthony B. Jenkins and Percy Daggs IV, which ground Halle Berry’s supernatural presence, the story is a solidly frightening slow burn. It continuously puts doubt into the origins and reality of the family’s beliefs, and that makes you care about their well being more and more as you wonder if their actions are tragic or life-saving. Director Alexandre Aja furthers your uncertainty with perpetually gloomy visuals, tying the film together in an intensely unnerving aura you won’t be able to shake.

SING SING Starring: Colman Domingo, Clarence Maclin, Paul Raci, and Sean San José Director: Greg Kwedar NICK Colman Domingo's transition from television to the big screen is happening at a rapid pace, and it feels like he’s only going to get bigger thanks to his dynamic lead performance in Sing Sing (as well as Rustin ). This is a heartwarming story that truly surprised me. I’m notably stingy on non-actors getting feature roles, but that doesn’t apply here because these real-life graduates from the RTA program ARE actors, as their real-world performances show. Though it’s set in a prison, Sing Sing doesn’t need to rely on violence to work. Instead, it’s a beautiful story of brotherhood and camaraderie amongst common men. ADRIANO The surprise of the festival has got to be Sing Sing . What could've been sappy Oscar-bait turns into something truly beautiful as it examines the humanity that can be found somewhere so deeply dehumanizing. Colman Domingo shines alongside an incredible ensemble (mostly comprised of real-life former inmates), all of whom come together with director Greg Kwedar and his co-writer Clint Bentley to make something devastating yet hopeful about the healing power of art. Quietly powerful in its approach to the subjects at hand, Sing Sing might present answers that could be seen as easy, but it’s effective nonetheless. SHADAN Sing Sing is one of the most profoundly affecting, inspiring, and joyful movies I’ve seen in quite some time. It's also the first movie of 2024 that I would wholeheartedly recommend to absolutely everyone. Colman Domingo is astounding, commanding, and quietly devastating, while Clarence Maclin is a stand-out in a phenomenal cast of actors. This is a movie packed with depth, empathy, and humanity. I simply cannot stop thinking about Sing Sing. AMARÚ Sing Sing is gritty, unpolished, makeshift, human, flawed, and perfect. Encapsulating the compassion of the Rehabilitation Through the Arts (RTA) prison program the film is based on, it resonates a hopeful light through the people who actually lived it. With RTA alumni playing versions of themselves, you palpably feel the impact of their powerfully emotional performances, and while their authenticity carries Colman Domingo to what’s surely to be another Oscar nomination, it’s Sean San José and Clarence Maclin whose names should be called right alongside Domingo’s on nomination morning. Sing Sing heals the soul, enriches the spirit, and is 2024’s first true must-see movie. QUENTIN Broadly speaking, Sing Sing is a serviceably good movie full of optimism and hope. Is it memorable or awards-worthy? Ehh, not to me, but I won’t argue too hard if others say differently. Personally, I found it to be a little too meandering, with no real story or much character development since it’s more about the Rehabilitation Through the Arts program rather than the inmates in it. Colman Domingo is terrific, sure, but he’s always terrific. Clarence Maclin is good too, but he’s also playing himself, so… I don’t know. I would have rather watched a documentary instead of this narrative true fiction, I think. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

EXPEND4BLES Starring: Jason Statham, Megan Fox, Curtis '50 Cent' Jackson, Randy Couture, Dolph Lundgren, Tony Jaa, Iko Uwais, Jacob Scipio, Levy Tran, Andy Garcia, and Sylvester Stallone Director: Scott Waugh NICK Let’s get this out of the way… Expend4bles is the weakest entry in the franchise. It’s lacking the star power of the previous films, as well as the humour. The only thing it has going for it is the R-rated violence, but that’s always been the story with this series: only getting one piece of the puzzle right with each movie. Now, I’m not saying I need Expendable5 but… If you take the cast of the earlier films, the humour of The Expendables 2 , and the R-rated carnage of this entry… MAYBE you get something that lives up to what this franchise is supposed to be. QUENTIN The Expendables 4 (I refuse to use the marketing’s stylization) isn’t what I would call a “good” movie. It features atrocious green-screening, even worse editing, and maybe the most predictable story I’ve ever seen. That said, Sly Stallone hands the reins over to Jason Statham, and I’ll never not have a good time watching Statham’s five o’clock-shadowed mug engage in fisticuffs and knife fights. Sadly, though, every time Statham isn’t on screen, it’s very straight-to-VOD quality, relying on the acting chops of non-actors Curtis ‘50 Cent’ Jackson and Randy Couture, as well as Megan Fox’s hotness. Overall, it’s watchable, but probably only for old action heads. ADRIANO Long story short, Expend4bles is terrible. The return of the R-rating would have been fun, had the action not been supremely uninspired, even if it is the best part of the movie. Expend4bles turns the franchise’s model of having some meathead fun with a bunch of old action heroes on a joint mission into another bland and obvious Jason Statham movie with Sharknado -level CGI. Sylvester Stallone is as fun as always, but he’s been downgraded to a borderline cameo. Aside from some blood and guts thrown in there, this is another poorly executed and forgettable action flick. PRESTON OK, let’s start on a positive note…Expend4ables does manage to narrowly escape my involuntary and hyperbolic thrashing at its mere mention by wrapping up nicely and giving an intangible feeling that Jason Statham can now safely be added to the Hall of Fame of Lovable and Forgivable One-Liner Action Stars alongside Sylvester Stallone and Arnold Schwarzenegger. Without the action-savior-buffer, my rant would include green-screening overkill, lackluster sets and props, maddening military tactics, and a dialogue that seems to flow from a rehearsing cast’s second table read. On second thought, let’s just talk about something else. PHILL Expend4bles is one of the worst film title stylizations ever committed to the visual medium, which is appropriate for this appalling and abysmal fourth outing. Whilst it is always fun seeing Barney Ross (Sylvester Stallone) and Lee Christmas (Jason Statham) together again, everything else that made The Expendables and its sequel so enjoyable is completely lost. The R-rated violence is back, but there is nothing remotely fun or interesting with what they do with it. Plus, it is sorely missing the one-liner, pun-spewing ensemble cast that made this love letter to 80s and 90s action films so interesting in the first place.

REDUX REDUX Starring: Michaela McManus, Stella Marcus, Jim Cummings, and Jeremy Holm Directors: Kevin McManus and Matthew McManus This film has been reviewed by Nick, Bode, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Although not at all the exhilarating thriller it's promoted as, I enjoyed Redux Redux for what it actually was. Michaela McManus (Irene) channels Rebecca Ferguson as she leads this multiverse-trotting tale of revenge that, despite a lack of high-octane action, is still entertaining. Directors Kevin and Matthew McManus do a great job of showing how someone can lose themselves when blinded by vengeance and what it takes to get them out of that cycle. Could it have been more thrilling? Yes, but the pairing of McManus and Stella Marcus (Mia) give their characters enough life to keep the story engaging. QUENTIN Given Redux Redux ’s status as one of my most anticipated Fantasia offerings, I’m saddened to call it a disappointment. Admittedly, this could be an expectations management issue, but the promised storyline of violent vengeance and “deliverance by any kind of weapon…every kind of weapon” doesn’t deliver. Instead, it’s more about working through trauma and the developing bond between a tortured adult and a defiant teenager. Think You Were Never Really Here mixed with Logan , but only in plotting and themes, not actual quality. That said, the performances are great, so it might have been better had my mind not been clouded by the marketing. BODE When I came across the premise for Redux Redux , I was quite intrigued. A time loop story can comment on so much, and using it to comment on the cycle of revenge could be pretty thrilling. And it is…for the first half, at least. The film struggles to maintain that uniqueness or energy afterwards, relying on surface-level observations of its subject matter, and dragging more than I would’ve liked. But solid performances (especially from lead star Michaela McManus), a cool soundtrack, moody filmic cinematography, and some genuinely memorable blood squibs keep directors Kevin and Matthew McManus’ lo-fi sci-fi watchable.

WE HAVE A GHOST Starring: Jahi Di'Allo Winston, Niles Fitch, Anthony Mackie, Erica Ash, David Harbour, Isabella Russo, and Tig Notaro Director: Christopher Landon AMARÚ There is a much better movie hiding somewhere in We Have a Ghost, but it never settles itself enough to find it. Whether it’s the intriguing family drama that isn’t fully explored, the tense mystery thriller that is sidelined for an oh-so-cliché government conspiracy, or the kooky supernatural family comedy with a cringeworthy social media side story, each section has merits amongst its flaws. The charming cast could’ve carried those flaws well if there was a consistent tone, but haphazardly stitching tonal shifts together every 30 minutes halts any momentum the cast generates, accentuating the messy script to the film’s detriment. JOSEPH Borrowing elements from other bizarre family films such as E.T. , Casper , and Beetlejuice , director Christopher Landon’s latest film, We Have a Ghost , treads no new water. While the cast is great, there are far too many ideas at play, never allowing this relatively straightforward tale to set a proper tone. Along with that, the film is far too safe, rarely leaning into its campier elements, nor does it feel like a true mystery. It’s a shame too because there are funny and surprising moments, but they’re just not consistent enough. Ultimately, it has some charm, but it's mostly forgettable. PAIGE Director Christopher Landon has stepped away from his horror comedy norm for a more lighthearted and family friendly ghost story with Netflix’s new original film We Have a Ghost . The flick is mostly a mix of Casper and The Haunted Mansion , with a dash of a modern twist, and while the film tries to conjure up some supernatural jokes and scares, they unfortunately fail miserably. The overall story just feels too weak, all the way down to its bones. I expected more of the witty writing Landon delivered with Happy Death Day and Freaky , but this is nothing more than a run-of-the-mill family haunting tale. NICK With two Happy Death Day movies and Freaky , director Christopher Landon has shown a knack for horror comedy. We Have a Ghost , however, isn't really either of those genres. It has hints of both, but the vibe is more akin to a family film with horror elements, like The Haunted Mansion or Monster House . It certainly takes a while to get going, and the tone changes with rapid succession, but it hits its stride in the latter hour to become a surprisingly moving film. Yes, there’s some modern cringe and things can be a tad ridiculous, but it is a ghost story after all. QUENTIN For what it is, We Have a Ghost isn’t terrible, but I’ve just outgrown this type of movie. At almost 42-years old, sanitized horror comedies with coming-of-age storylines just aren’t for me anymore. That said, I probably would have really dug this movie as a middle schooler, as it would sit comfortably on the shelf next to similar movies from my youth like Casper and Little Monsters . Everything about it – the humor, the scares, the action – is played too safely, which could make this a solid addition to Halloween movie night with the little ones, but it’s probably skippable for most adults.