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ASTEROID CITY Starring: Jason Schwartzman, Scarlett Johansson, Jake Ryan, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Steve Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, and Jeff Goldblum Director: Wes Anderson NICK Wes Anderson films aren’t exactly my style, so there’s a good possibility those enamoured with his work will enjoy Asteroid City more than me because this is an Anderson film to the core. It’s bright and vibrant, and features moments of humour amongst the absurdity. But it also boasts an overstuffed cast, thin plot, and is emotionally hollow. These attributes permeate many of his films, so I guess if you like Wes’ work, you’ll like this. To me, it’s another picture stacked with star power, yet none are given the chance to outshine Wes himself, which is par for the course with his filmography. JACOB There is always a distinct pleasantness baked into Wes Anderson’s projects, and Asteroid City is no exception. While it is decidedly less propulsive than some of his more celebrated works, the dialogue is as sharp as ever, and as production value goes, it ranks with some of his best material. However, that same production (and some of the editing) can be quite distracting as the film loses grip on its narrative momentum almost every time it gets going. That said, the entire cast does solid work, and the film’s underlying themes are well worth exploring. ADRIANO As someone who isn't totally into Wes Anderson’s unique style, I find Asteroid City perplexing. It’s better than his recent efforts, but it suffers from a filmmaker indulging himself a little too much. It's funny, it looks stunning - expected from an Anderson film – and when we’re in the titular Asteroid City, the film is at its best; however, it feels like Anderson had too many ideas, to the point where the film’s narrative structure stopped me from feeling the emotions I was meant to feel. If you’re a Wes head, you’ll probably find more to appreciate than I did. PAIGE While I quite enjoyed Asteroid City , this film is the definition of style over substance. Director Wes Anderson, who is notorious for having remarkable cinematography and production design, once again delivers on that front, making for one of the most visually stunning films I’ve seen all year. There’s also no denying that this is one of Anderson’s most profound films in recent years. That said, the film’s biggest issue is that its approach is so all over the place that it loses momentum at times.

MICKEY 17 Starring: Robert Pattinson, Naomi Ackie, Steven Yeun, Toni Collette, and Mark Ruffalo Director: Bong Joon Ho ADRIANO After finally watching Mickey 17 , I'm glad all the delays, reportedly due to director Bong Joon Ho's refusal to adhere to studio notes, paid off. It's not another masterpiece, mind you, and audiences might be put off by the film since it's not always structurally sound. However, Bong's knack for scathing political satire and grand ideas is still intact, as it's not only outrageously funny, thanks in part to an excellent physical performance from Robert Pattinson, but also a brilliant punch to corrupt power-hungry politicians who use Catholic values as a shield. As a longtime fan, this was worth the wait. AMARÚ Mickey 17 is absolutely outrageous and a whole lotta of fun, but what else do you expect from the imaginative mind of Bong Joon Ho? Robert Pattinson, Naomi Ackie, Mark Ruffalo, Steven Yeun, and Toni Collette all understood the weird assignment tasked to them, and it results in a hilariously interesting tale with an unabashed reprimand of the abuse of groupthink. Its runtime allows the plot to meander too much, making this one of Bong’s most unfocused narratives, which creates some anticlimactic endings for its otherwise enthralling premise. But that doesn’t dampen a captivating experience that I would gladly watch again. ROBERT What truly makes someone human and establishes their value to society? Bong Joon Ho explores that idea, along with political cultism, militaristic occupation, and the ethics of technological advancement in Mickey 17 . Through the prism of the hilariously dark concept of “expendable” humans, we are privy to see Robert Pattinson’s Mickey Barnes come to terms with all the sides of himself, demonstrating that no matter your societal role or what you have done before, it doesn’t restrain your ability to evolve. This movie is weird, and the actors deliver on the satirical farce without hesitation. Breathe in all its beautiful toxins. PAIGE While Bong Joon Ho’s Mickey 17 is a lively and over-the-top sci-fi satire, its tone and pacing are a bit inconsistent. The movie attempts to incorporate too many genres and themes, which causes it to lose focus on what it is trying to convey to its viewers. However, because of Robert Pattinson's performance, which allows him to continue showcasing his range, the movie has a captivating zaniness to it. I enjoyed what I saw on screen, overall, but it's apparent that Mickey 17 never fully commits to the story it's attempting to tell. QUENTIN Mark Twain said that humor is tragedy plus time, and Mickey 17 — at least for me — is the wrong movie at the wrong time. With what is currently happening to federal workers in the United States right now, I take no pleasure in watching a sci-fi satire about a tyrannical buffoon and the dehumanizing expendability of those beneath him. But even if that wasn’t the case, Mickey 17 plays like an overlong and wildly uneven mashup of director Bong Joon Ho’s previous works Okja and Snowpiercer , which means it really isn't offering any fresh ideas. The performances are terrific, though. BODE Don’t go into Bong Joon Ho’s latest film, Mickey 17 , expecting another Parasite , because it’s more in the vein of his last English-language feature, Okja , in that its critiques are bigger in scope (capitalism, fascism, and religious fanaticism are just some of what it tackles) and wackier in execution. It does a lot, and as a result, its narrative is a bit scattered, resulting in pacing that can be fairly uneven at over two hours; however, with one of Robert Pattinson’s most inventive performances, as well as Bong’s distinctive visuals and humanism, there’s still enough to like. Pretty good, as is. BRYAN Bong Joon Ho reminds us why he’s one of the great modern auteurs with the long-awaited Mickey 17 : a gut-busting, sci-fi, black comedy that slowly transitions into a terrifying political satire. In typical Bong fashion, the film masterfully balances tone to present itself as something you didn’t expect when walking in. As a result, it’s easy to feel disappointed by the film, yet it worked for me on nearly every level. The visual language, as well as Robert Pattinson’s incredible performance, make the film the first great one to come in 2025. KATIE Mickey 17 is a lot of fun, but contains too many competing ideas for its own good. I loved the mix of sci-fi, romance, pathos, comedy, and political satire, but I was frustrated by the uneven pacing and plethora of ideas that are established but not explored enough to matter, which results in a muddled and unfocused plot that left me with a lot of questions. However, I still really enjoyed it. The visuals are immersive, it’s thought-provoking, and it's held together by incredible performances, especially Robert Pattinson, who infuses the film with his offbeat charm.

THE G Starring: Dale Dickey, Romane Denis, Jonathan Koensgen, Roc Lafortune, and Bruce Ramsay Director: Karl R. Hearne This film has been reviewed by Paige and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN If you come into The G looking for an action-packed, gender-swapped version of Taken , you are going to be very disappointed. Despite being billed as a “revenge thriller,” there are very few thrills and hardly any of the violence you would expect. Plus, the “revenge” aspect doesn’t come into play until very late in the movie. However, if you go in expecting something more in line with The Coens’ Blood Simple , you should walk away mostly satisfied. From that perspective, The G is a terrific showcase for renowned character actress Dale Dickey, and a slow-burn neo-noir that remains engaging despite being somehow both overwritten and underdeveloped. PAIGE Even though The G is a typical slow-burning revenge movie, director Karl R. Hearne does a solid job of telling this story as both a poignant family drama and a violent crime thriller. The film has the makings of being immensely interesting and original, but unfortunately, the underwritten screenplay is its demise, which is a bummer because it's a missed opportunity to deliver on an intriguing concept. Despite that, the movie keeps you engaged by Dale Dickey's prominent performance as a ruthless badass that should not be messed with.

SKINAMARINK Starring: Lucas Paul, Dali Rose Tetreault, Ross Paul, Jaime Hill Director: Kyle Edward Ball JACOB Skinamarink is more of a movie of atmosphere than of plot, and for that reason, it will not be for everybody. That said, for the true micro-budget horror heads out there, it's a quietly small miracle of theatrical distribution and filmmaking. The first twenty minutes are rather slow as the film builds ambiance, but once a knife is mentioned, the tension holds to the very end. It may very well terrify those who vividly remember dark nights in 90s homes with shag carpet and wood paneling. Director Kyle Edward Ball should be proud of what he achieved here. NICK I’ll never fault someone for taking risks, but director Kyle Edward Ball's Skinamarink certainly brings mixed results. There are positives to be found, mostly a Super 8 film approach that works wonders, and Ball is great at using minimalist filmmaking to find tension. Unfortunately, this style also leads to moments that feel long and drawn out, which would have been overcome by a shortened runtime. This film requires a lot of patience from its viewer and it’s certainly not for everyone, but it did succeed in creating an eerie vibe and giving me one of the better scares I’ve had in some time. JOSEPH If ever a movie could be best described as “a vibe” it would be Skinamarink . It’s a mixed bag of sorts that I wish delivered more heavily on scares, but, that being said, I can’t turn off the lights without thinking about it. TikTok may have oversold it a bit as it’s not for everyone, but it’s a great example of how to capture a mood and force an audience into discomfort. It’s worth a watch, but be warned, it’s highly experimental. This film was originally reviewed by Nick as part of Bitesize Breakdown’s coverage of 2022’s Fantasia International Film Festival.

CADDO LAKE Starring: Dylan O’Brien, Eliza Scanlen, Caroline Falk, Lauren Ambrose, Eric Lange, Sam Hennings, and Diana Hopper Directors: Celine Held and Logan George QUENTIN A bit of advice: go into Caddo Lake completely blind (like I did) because I can assure you it’s probably not what you are expecting. If you follow that advice, you’ll be rewarded with a moody, intricately layered, puzzle-box mystery that recalls the movies of Justin Benson and Aaron Moorhead. Admittedly, *I* found it to be a tad predictable, but I suspect those who watch fewer movies than me might have their minds blown. Even still, if you do “figure it out,” the characters, performances, and atmosphere more than make for a compelling viewing experience. Overall, Caddo Lake was a nice and genuine surprise. PRESTON Caddo Lake benefits from an outstanding script that manages to take care of the smallest of details, which allows the viewer to relax into its surprising revelation with the knowledge that you are in good hands. It’s a surprising straight-to-streaming release that starts a little slow, but it uses its time wisely to lull you into complacency while simultaneously laying a competent backstory that only adds to the satisfying conclusion. Just trust the process and go in knowing that writers and directors Logan George and Celine Held have everything well in hand.

CARRY-ON Starring: Taron Egerton, Jason Bateman, Sofia Carson, Danielle Deadwyler, Tonatiuh, Theo Rossi, Logan Marshall-Green, Sinqua Walls, and Dean Norris Director: Jaume Collet-Serra NICK Carry-On is a throwback to early 2000s action-thrillers, but here's the thing: the term "throwback" is often used in a positive manner, and that's not the case here. This is a generic copycat film that wastes its talented supporting cast (Danielle Deadwyler, Sinqua Walls, and Logan Marshall-Green, to name a few), and even with Taron Egerton and Jason Bateman doing their best with what they are given, the unimaginative script betrays them. Notable cast aside, if a film like Rebel Ridge is the high end of Netflix actioners, then a film like Carry-On resides in the low end. KATIE Carry-On is a cliché but serviceable Netflix thriller that draws upon late 90s/early 2000s action films. The film’s success rests on the strong central performances from Taron Egerton, playing TSA agent Ethan Kopek, and Jason Bateman as the mysterious passenger, whose everyman charm is a great contrast to the sinister role. Carry-On is at its most entertaining during the tense conversations between them, but the uneven, often uninspired dialogue lets it down, as do the leaps of faith required to justify some characters’ actions. On the bright side, there are a couple of genuinely gripping and creative action sequences. QUENTIN Although not terrible by any means, Carry-On is basically a mediocre rip-off of Phone Booth (among other things) that did little more than make me want to watch Joel Schumacher’s (R.I.P.) underrated gem again. The performances from the better-than-it-deserves cast are generally fine but nothing special, although Jason Bateman’s typically wry persona adds some against-type intrigue to his villainous turn. Meanwhile, the suspense elements aren’t all that suspenseful, and the twists aren’t as clever as they think they are. Overall, it’s an inoffensive distraction, I suppose, but it mostly just made me wonder why the talented Taron Egerton seemingly isn’t getting offered meatier roles. PAIGE Carry-On very much has the vibe of an early 2000s action thriller, like the most basic versions of Air Force One or Phone Booth . While the movie certainly has some creativity to it, it's mostly a bunch of clichés that lack the suspense needed for a decent thriller. The film should have concentrated more on Jason Bateman's unexpectedly menacing performance rather than letting the plot get increasingly outlandish and cheesier as it progressed. Unfortunately, this movie is so predictable that my mind checked out at about the midway point. PRESTON Carry-On does just enough to make it a worthy, if not supremely mediocre, Netflix flick. Taron Egerton is a bit over the top at times, but serviceable as TSA agent Ethan Kopek, while Jason Bateman provides a realistic tint to his character’s dialogue that makes the film much more successful than it would have been otherwise (seeing him as the “bad guy” is a fun bonus too). It's a nice attempt to enter the ranks of the Die Hard -class of Christmas films, but it comes up short as a predictable and less-than-thrilling “thriller,” typical of releases of the same ilk.

STRANGE DARLING Starring: Willa Fitzgerald, Kyle Gallner, Ed Begley Jr., and Barbara Hershey Director: JT Mollner NICK If you've read my work before, you'll know I often take issue with non-linear timelines. Well, not only does director JT Mollner use the format successfully, but he does so in a way that enhances the overall film. With the concept of Chapters told out of order, it creates an uncertainty and intrigue that is only enhanced by the dynamic lead performances. Willa Fitzgerald and the criminally underrated Kyle Gallner come to play, and they held my attention from beginning to end of this gripping serial killer picture. Whether it’s the direction, the cast, or the story, Strange Darling is a triumph across the board. QUENTIN If you ever need a prime example of a movie that expertly subverts expectations, look no further than Strange Darling . Playing a bit like Sanctuary but with the throwback horror motifs of Pearl and The Texas Chainsaw Massacre , this is a twisty, tense, and thoroughly engaging thrill-ride. It’s also a great example of how to use non-linear storytelling to maximum effect. You’ve probably read my praise for Kyle Gallner in the past (he does solid work here too, no doubt), but he’s ultimately overshadowed by Willa Fitzgerald, whose performance drives everything happening on screen. Kudos to writer-director JT Mollner for creating something special with this one. PAIGE Willa Fitzgerald and Kyle Gallner may have delivered two of the most underrated performances of the year in Strange Darling . This sexy, twisted thriller will have you playing a game of cat-and-mouse with your expectations as it manages to have several diabolical tricks up its sleeve. Plus, director JT Mollner's ingenious non-linear storytelling excels in this beautifully shot 35mm gem. Everything from the flashy neon cinematography to the stellar sound design is intense. Go into this flick as blind as possible, and I promise you will enjoy the ride! KATIE I’m usually not a fan of serial killer films, so I was admittedly apprehensive when Strange Darling opened with the claim that it was based on a prolific murder spree. However, this audacious thriller surprised me, constantly subverting my expectations and using my assumptions against me in the best possible ways. The non-linear narrative is used to enhance the impact of the twisty cat-and-mouse chase, and it kept me engaged and constantly guessing. It’s gorgeously shot on 35mm that recalls the look of 1970s horror films, and is driven by forcefully captivating performances from Willa Fitzgerald and Kyle Gallner. This film was reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023.

THE MONKEY Starring: Theo James, Tatiana Maslany, Elijah Wood, Christian Convery, Colin O’Brien, Rohan Campbell, and Sarah Levy Director: Osgood Perkins ADRIANO After the excellent Longlegs , writer/director Osgood Perkins' follow-up, The Monkey , not only fails to meet that high bar, it doesn't even come close. At first, the film's unhinged comedy-horror tone worked, and I was even laughing at some of the vicious kills. However, after a time jump, I was less forgiving of the obviously bad writing and uninteresting familial storyline. Even worse, the kills became less fun, it was rather tensionless, and in the end, the film wound up being very cynical about death's inevitability without any real reason beyond cynicism. QUENTIN Most horror comedies go wrong by trying to insert jokes into situations meant to be tense, causing neither the humor nor the dread to fully land. Director Osgood Perkins must share this view because The Monkey is a hilarious addition to the genre that does well to mesh playfulness with mayhem by relying on over-the-top, tongue-in-cheek, self-aware campiness to bring the laughs instead of being “jokey.” The ridiculous death scenes conjure memories of Final Destination (but far gorier), and although the family storyline slows the gruesomely fun momentum at times, I was kept in eager anticipation for the next grindhouse-style kill. I had a blast. ROBERT As a society, we are aware that creepy toys are always the embodiments of evil, but The Monkey sees director Osgood Perkins raising the stakes on that truth, tenfold. Throughout the film, we are treated to a plethora of accidental deaths trumped up to drive home their hilarity, and the snickers and giggles never wane. While the underlying drama is unengaging, the set pieces and staged kill scenes never disappoint. Perkins understands how best to curate shots for timing and tension in this type of environment, and kudos to the cast for knowing the assignment and running with it full sprint. PAIGE The Monkey is a complete departure from director Osgood Perkins' previous film, Longlegs , because the director was clearly more inclined to focus on the zany and absurd aspects of the story rather than its dreadful and moody tone. While the movie excels with its inventive kills and sheer body count, it fails miserably when trying to capitalize on the humor of it all. The dialogue throughout this horror comedy is embarrassingly cringeworthy, too. I would have had a somewhat better time had the movie maintained the intensity it displayed during its first half, but, overall, I did not go bananas for The Monkey . NICK Coming off last year's horror hit Longlegs , director Osgood Perkins had firmly stamped himself as “one to watch.” Not even a year later, we get his follow-up, The Monkey , and it’s as if it was directed by an entirely different person. Despite its clever marketing, this film is neither scary nor funny (although it thinks it’s the latter), instead falling somewhere between annoying and disjointed. Nothing stands out positively, including the kills, which are somehow the highlight yet still play like a Final Destination rip-off. Last year was a really good year for monkey films, but that streak has come to a screeching halt. BODE If there’s one thing about Longlegs that caught me off guard, it was the sly sense of humour effectively sprinkled throughout all the dread. So, knowing that director Osgood Perkins would lean more into comedy with his follow-up, The Monkey , was fairly exciting. Unfortunately, he’s not totally successful with his pivot. There is fun to be had initially, especially with some of the kills, but as the unengaging familial drama gets more of a focus later on, the film loses plenty of steam and never fully recovers. The flat jokes and smug attitude it adopts don’t help either. Overall, The Monkey is a disappointment. KATIE The Monkey is not a particularly high-quality film, but it's a good time at the cinema. I find that the majority of horror comedies don’t do either element well, mixing them rather than giving the right amount of attention to either one, but I enjoyed the way The Monkey alternates between a creepy atmosphere, grisly kills, and cheesy humour. Theo James is funny in the dual role of Hal and Bill, but the familial drama is weak, adding to a recent stint of horror films that rely on a damaged father-son relationship for emotional engagement. However, they all fail since they feel perfunctory and ultimately empty. BRYAN With it being Osgood Perkins’ follow-up to the excellent Longlegs , there was a lot riding on The Monkey . Unfortunately, the execution fails to match what was promised in the marketing, reminding us that not all short stories can successfully transition into feature-length territory. Theo James is doing his best with the material given, and some of the scares are cleverly staged, but the blending of humor and horror is where the film hits a lot of bumps as the repetitiveness wears thin quickly. Plus, talk about major tonal inconsistency. I didn’t walk out of this feeling angry, but more so disappointed.

ORIGIN Starring: Aunjanue Ellis-Taylor, Jon Bernthal, Niecy Nash-Betts, Emily Yancy, Vera Farmiga, Audra McDonald, Finn Wittrock, Victoria Pedretti, Jasmine Cephas Jones, and Isha Carlos Blaaker Director: Ava DuVernay QUENTIN Despite being well acted and delivering thoughtful commentaries on racism, caste systems, and personal grief, Origin is as dry as a college lecture. Nothing about Ava DuVernay’s direction is bad, but it’s not particularly dynamic either. It’s not all her fault, though. The message is certainly important and, from a scholarly perspective, incredibly fascinating, but it’s not built for a feature length narrative. This would have been much better and perhaps more impactful as a documentary because, as is, it’s like watching someone act out a doctoral thesis paper. Personally, I can’t say I enjoy movies that feel like homework. NICK The story of Origin is one of importance, but it’s hidden inside a very tedious film. Director Ava DuVernay brings us something that feels more like a college lecture than a concise and interesting narrative. This has nothing to do with the performances, but in the way the subject matter is approached in such a dry manner. It truly felt like I was watching The History Channel at times, and although I sympathize with the trauma Isabel Wilkerson (Aunjanue Ellis-Taylor) faced, everything surrounding her is lethargic. Wilkerson writes “a world without caste would set everyone free;” a lasting message that deserved a better film. AMARÚ I can’t exactly explain how director Ava DuVernay shoots Origin , but the camera work placed it somewhere between narrative and documentary. It’s like she said, “y’all not gon’ watch a documentary? Okay, imma make sure you get this information anyway!” And damn if I didn’t get that info. In the film, Aunjanue Ellis-Taylor’s Isabel is trying to find connection between seemingly unconnected concepts, and DuVernay connects the narrative with the history lessons through the same ideals Isabel does: love, grief, trauma, and compassion. This delivery method masked the triggers similar movies often elicit, and it results in a powerfully engrossing, expertly written film. ADRIANO There is an old rule in storytelling: Show, don't tell. Origin largely abandons that rule. Instead of delivering what should have been a documentary on the caste system, writer/director Ava DuVernay opts for an aggressively unsubtle and borderline Hallmark approach to the narrative form. Aunjanue Ellis-Taylor is terrific, and she could gain something from this, but the way in which the message is presented is flatly directed, a structural disaster, and full of moments that are emotionally manipulative. The final thirty minutes, in particular…I'm not gonna lie…were horrendous. I had high hopes for this one, but I was very disappointed. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 Toronto International Film Festival, respectively.

DAYDREAMERS Starring: Tran Ngoc Vang, Thuan Nguyen, Chi Pu, and Trinh Thao Director: Timothy Linh Bui KATIE Daydreamers is a refreshingly bold, stylish take on the vampire genre. It uses the loneliness and angst of vampirism to explore the protagonist Nhat’s (Trang Ngoc Vang) struggle to find a sense of belonging and freedom, blending rural aesthetics with the urban neon-lit city. The CGI effects are the film's weakest aspect, but that doesn’t overshadow the stylish cinematography, vibrant colours, gorgeous lighting, and fantastic performances. At times, it almost looks like a pastiche of 1960s technicolour melodrama. I don’t think I’ve seen any Vietnamese films, but Daydreamers has inspired me to seek them out. NICK Although Daydreamers isn’t going to be the vampire film people are most talking about this month, it’s not without its charms. The biggest charm being the vibrancy of the dynamic colour palette, which really gives the film a style that stands out. Besides its appearance, however, there’s just not much here. The effects are subpar while the story (though conceptually interesting) struggles to stay engaging. The latter especially is a shame because it's a take on vampires we haven’t really seen before. Unfortunately, the poor story structure, as well as the dialogue heavy subtitles, hindered my ability to fully get sucked into this world.

SCARED SHITLESS Starring: Steven Ogg, Daniel Doheny, Chelsea Clark, Mark McKinney, Marcia Bennett, and Julian Richings Director: Vivieno Caldinelli QUENTIN When you have a movie about a plumber saving people from a genetically engineered, blood-thirsty creature that is living in a building’s plumbing system — and it has a puntastic title like Scared Shitless — you have a certain expectation. Thankfully, director Vivieno Caldinelli and the entire cast, but especially Steven Ogg, understood the assignment. This is a hilarious and bonkers throwback to 80s movies like Critters , but it’s done so skillfully that it belies its apparent Midnight Madness, B-movie inspirations. Full disclosure: I saw a 10:45pm showing of Scared Shitless after more than a few beers, and for maximum fun, I highly recommend you do the same. ROBERT I think the elevator pitch for Scared Shitless is obvious: Tremors on the toilet. You must respect a movie that imbues such 80s, B-monster movie energy into its DNA and gives credit to the tradesmen of the world by making our heroes plumbers. I have only ever seen Steven Ogg play a crazed side character whose alignment always skews evil, so to see him headline a movie as the protagonist was a welcome change of pace too. There isn’t a second wasted in Shitless ’ 76-minute runtime, resulting in a nostalgia trip that never defecates on itself in its execution. KATIE With a title like Scared Shitless , you go in with your expectations adjusted for silly, bloody, B-movie fun, and thankfully, the film does exactly what it says on the tin. The cast is great, and Steven Ogg is hilarious playing the role of the passionate plumber Don. I sometimes struggle with gross humour, but I found it genuinely funny here, and the over-the-top, gory practical effects are ridiculously entertaining. However, the concept only has so much momentum, and even at a short 76-minute runtime, it becomes slightly tedious towards the end. But, overall, I had a surprisingly good time.

HEIST 88 Starring: Courtney B. Vance, Nican Robinson, Bentley Green, Xavier Clyde, Precious Way, Keith David, and Keesha Sharp Director: Menhaj Huda AMARÚ With a great lead, an interesting story, and a heist to pull off, your film should be close to impossible to fumble. However, as suave and talented as Courtney B. Vance is, there isn’t enough cool to cover Heist 88 ’s amateur nature. It looks and sounds like a straight-to-video MTV production (which, incidentally, it is). Bad editing, cringeworthy dialogue, and noticeable ADR voice overs stain the few instances when the cast attempts to elevate what they’re given. But when they mess up Nican ROBINSON’s name in the opening credits, the clear lack of budget and oversight sadly make this a really hard watch. QUENTIN Even for a person who is incredibly generous when it comes to heist movies, not to mention a fan of Courtney B. Vance, Heist 88 is a complete misfire on nearly every level. I mean, this thing feels like a half-hearted television pilot for network TV that wasn’t picked up, so director Menhaj Huda figured he’d just do reshoots to make it an 84-minute movie, salvaging his time and effort. It looks incredibly cheap, the editing is clunky, and dialogue is rough. Try as he might…and he definitely tries…Vance can’t save this outright disaster.