THE INSPECTION Starring: Jeremy Pope, Gabrielle Union, Bokeem Woodbine, Raúl Castillo, McCaul Lombardi, and Eman Esfandi Director: Elegance Bratton NICK Director Elegance Bratton has crafted what is clearly a very personal film that is something to be proud of. The Inspection , above all else, feels authentic. It’s not afraid to “go there,” but it’s never gratuitous, while the moments of levity are organic and never forced. Jeremy Pope justifies his casting with a powerhouse performance that is both touching and heartbreaking, and Gabrielle Union gives a career-best showing - good enough to put her in the awards conversation even. Growth is one of the main themes of The Inspection , which is fitting because we’re about to see that growth in both Bratton and Pope’s careers. ADRIANO The Inspection does a lot while also feeling incomplete. The film likely would have fallen apart if it weren’t for Jeremy Pope’s astonishing performance, but unfortunately, its 90-minute runtime doesn’t give director Elegance Bratton enough time to flesh everything out. Its stance is clear and told effectively, but outside of its central character, everything feels simplified in its approach. I certainly felt the emotions I was supposed to feel, but that was more towards the situation and less because of everything it was building to. JACOB Although The Inspection could have afforded to be a little more biting in its portrayal of the U.S. military and/or the implications of gay men being in it during the “Don’t Ask, Don’t Tell” era, it’s more than well-carried on the back of a brilliantly nuanced Jeremy Pope performance. Pope is exceptional in the film, able to will empathy from an audience that wants him to succeed in his mission just as much as we want him to save himself from it. Gabrielle Union and Raúl Castillo also turn in strong supporting work, though Union is seldom on screen. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

AVATAR: FIRE AND ASH Starring: Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang, Jack Champion, Britain Dalton, Kate Winslet, Oona Chaplin, Cliff Curtis, Brendan Cowell, David Thewlis, Bailey Bass, Edie Falco, Jemaine Clement, and Giovanni Ribisi Director: James Cameron NICK Thus far, Avatar has meant spectacular visual achievements with dynamic world-building, underdeveloped characters, and a thin story. With Fire and Ash , the first two are still true (it’s mesmerizing to witness), but the latter two are greatly improved upon. This is the first time I was able to get invested in these characters as their development takes center stage via engaging story threads. It’s far from perfect, of course, thanks to a final act that somehow feels both overstuffed and understuffed, but this is a vast improvement over the previous trips to Pandora. And for the first time, I’m looking forward to coming back. AMARÚ Fire and Ash could be the best of the series or the worst, which is a testament to James Cameron’s directorial consistency. Cameron somehow surpasses the previous two films’ mesmerizing visual effects, and also improves on the franchises’ biggest weakness: creating memorable character development by the end credits. However, the execution of these impressive features left me feeling like I watched a three-hour television season instead of one cohesive film. With such a grand scope, the editing choppily juggles the multitude of storylines, unceremoniously dropping some, never to return. Yet, the film’s massively entertaining feats make its sum greater than its vacillating parts. QUENTIN I recently called Wake Up Dead Man the “least good” chapter of the excellent Knives Out franchise. On the flipside, Fire and Ash is the “least mediocre” chapter of the extremely blah Avatar franchise. Credit given for slight improvements to character development, but the terrible dialogue, atrocious performances, and lazy writing remain throughout the unnecessary 195-minute runtime. Then there are the visuals... during quieter moments, they can be breathtaking; however, during fast-paced and chaotically directed action sequences, it’s back to looking like a video game cutscene that has been run through a smoothing filter. Once again, it’s more of the same, with an extra dose of repetitiveness. ADRIANO I’ve enjoyed the previous Avatar films, but with Fire and Ash , James Cameron doesn’t offer much that is new. I always found the claim that The Way of Water was one big retread of the first movie silly, but here, it certainly retreads a lot of the previous films' ideas while barely expanding on the world. At more than three hours, it’s hard not to notice, too. As a spectacle, it’s still marvelous to look at (only time I’ll ever succumb to 3D), but with a smaller gap between films, this was less of a fulfilling continuation and more just being Avatar again. BODE For as flawed as the Avatar films can be, I’ve been on board with James Cameron’s vision from the start thanks to the awe-inspiring digital wizardry and sincere passion that drives them, which is more than I can say for some CG-heavy modern blockbusters of its size and scale. That’s why I’m bummed to report that while Fire and Ash once again delivers in terms of craftsmanship, its narrative is basically The Way of Water : Part Two, mostly repeating ideas to lesser effect. I still had a good time with this, but I hope future sequels have more actual new material. KATIE Avatar: Fire and Ash continues James Cameron’s series of visually arresting epics. Although it feels like a direct continuation of The Way of Water narratively, the film feels bigger and more spectacular. The story is derivative, but it's visually stunning and all-encompassing, and I can't help but lose myself in Cameron’s richly imagined world and colossal action sequences. I was disappointed that the new addition of Varang, played by Oona Chaplin, is underutilised. She’s set up perfectly as the film’s villain, but doesn’t fulfil her chaotic potential. What Fire and Ash lacks in character development, it makes up for in spectacle.

THE NAPA BOYS Starring: Armen Weitzman, Nick Corirossi, Sarah Ramos, Mike Mitchell, Jamar Malachi Neighbors, Chloe Cherry, Vanessa Chester, Kevin Smith, Jason Mewes, DJ Qualls, Ray Wise, David Wain, and Paul Rust Director: Nick Corirossi ADRIANO The Napa Boys , in all honesty, feels like a feature-length inside joke pretending to be a legacy sequel to a fake beloved franchise. I understand why some wouldn't find that sense of humour very funny, but when the movie casually throws out that the boys have to “find Stiffler's brother” without any prior context, that's when I knew this American Reunion meets Lord of the Rings parody film was gonna land for me. It's very aimless at times, but I laughed more often than I didn't. BODE Look, comedy is subjective. What one person finds funny, the other may not. That becomes even more obvious when you enter the realm of alternative comedy, which The Napa Boys falls very much into. Co-writers and co-stars Nick Corirossi (who also directed) and Armen Weitzman essentially create a feature-length shitpost akin to Wet Hot American Summer , satirizing our IP-obsessed culture with tons of inside jokes and gross-out gags. If that doesn’t sound like your thing, this could very well test your patience. But if you’re like me, you’ll be laughing throughout. To the grape! This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

SISU: ROAD TO REVENGE Starring: Jorma Tommila, Stephen Lang, and Richard Brake Director: Jalmari Helander NICK Your enjoyment of Sisu: Road to Revenge will be based almost entirely on your ability to suspend disbelief because there are Fast & Furious -levels of ridiculousness here. The sequel strips away some of what made the first film work in exchange for cartoon violence that is uneven yet entertaining, even when it dips into feeling like a live action Looney Tunes episode. I thought the first film was fine, and this one is very similar. Stephen Lang's moustache-twirling villain is a highlight, but otherwise, there isn’t much that separates the two films. I certainly don’t need any more Sisu movies, but I’d watch. QUENTIN I loved Sisu , and considering its sequel is very much the same but with cartoonish amplification, I’m still on board despite the ridiculousness. And make no mistakes, Road to Revenge pushes the bounds of disbelief. I give no shits, though, because it’s just a fun time at the movies. It knows exactly what it is and revels in the gory muck, which is admirable. I described the first one as John Wick meets The First Avenger , as directed by Quentin Tarantino. That still tracks, except replace The First Avenger with Fury Road and a dash of Snowpiercer , maybe muddled together in some extra grindhouse grit. AMARÚ With maybe a grand total of 150 words (one vicious Stephen Lang monologue aside), Sisu: Road to Revenge quickly sets the stakes, pitting the badass Lang against The Legend (Jorma Tommila) and kickstarting a bloody ridiculous sequel. The chapters fly by, letting its super gory, often hilarious, and always epic action speak for itself. Similar to the first film, the action is simpler than expected. But unlike how that dragged the original’s pacing, Revenge ’s stronger emotional foundation lets the straightforward yet outlandish set pieces breathe easier. It all sets the stage for potentially more bombastic final chapters to bring it home. BODE While I understood why Sisu was one of the most buzzed-about flicks at TIFF three years ago, I personally didn’t find much about it distinguished itself from other films of its ilk (other than some fun bits of gore). The same could arguably be said for its unexpected sequel, Road to Revenge , but returning writer-director Jalmari Helander injects more of a brazenly silly energy to its action sequences and an emotional core that gives the continuing adventures of this Finnish warrior some genuine stakes. Plus, who doesn’t love to see Stephen Lang chew up the scenery as an accented villain? It’s an improvement!

ALICE, DARLING Starring: Anna Kendrick, Kaniehtiio Horn, Wunmi Mosaku, and Charlie Carrick Director: Mary Nighy QUENTIN Alice, Darling isn’t a particularly easy or entertaining watch, as Alice’s (Anna Kendrick) anxieties permeate the entire 90-minute runtime; however, that is more of a testament to Kendrick’s great performance than a complaint about the movie. She is perfectly cast, displaying a level of depth, vulnerability, and nuance that we haven’t witnessed from her before, all while portraying a character-type that I’m sure many of us have known in real life. That said, the film isn’t perfect. It’s minimalistically slow at parts, and more insight into the toxic relationship would have been nice. It’s still good, but for a certain type of film fan. NICK Alice, Darling likely would not work at all were it not for Anna Kendrick in the lead role. Her performance is the exact blend of innocence and fragility that the role calls for. You truly feel for her character, and it makes for a very uncomfortable watch at times. Aside from her performance, there’s not really much there. The commentary on power dynamics is clear, but you don’t fully get to see that at play. It’s as if the film censored itself a little, which actually does a disservice to its message. There was some potential, but unfortunately, the film was unable to achieve it. JACOB While its heart is in the right place, Alice, Darling can’t cobble together a cohesive enough story to satisfy its thematic mission. Representing emotionally abusive or controlling relationships rather than physically abusive ones is tricky, to be sure, but this film fails to use its greatest tools to their full effect. Anna Kendrick is doing what she can on a bare-bones script, but the audience doesn’t spend enough time with either her friends or her abusive partner to be invested in Alice's (Kendrick) escape from the relationship or her friends' attempts to rescue her from it. All in all, this film is a miss. PAIGE In Alice, Darling , Anna Kendrick leaves behind her usually bubbly personality for a more emotional and vulnerable performance that truly brings all of Alice’s anxieties to life. It’s a role that may be a career best for her, and it’s also the film's biggest strength. Throughout this character-driven drama, I could feel the emotional weight of Alice's trauma rising to the surface. That said, I never felt fully immersed in the story, one that attempts to depict the realities of an unhealthy relationship and the fear of trying to escape it.

ROAD HOUSE Starring: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams, Kevin Carroll, Hannah Lanier, Joaquim de Almeida, Lukas Gage, Dominique Columbus, Arturo Castro, and JD Pardo Director: Doug Liman NICK I think I would have enjoyed Road House more if it went by any other name, because when compared to the original, it's a let down. That said, there's entertainment to be had thanks to director Doug Liman's testosterone-fueled video-game-style fight sequences and Jake Gyllenhaal's smart-ass take on Dalton. As for what Conor McGregor is doing? I'll go ahead and say it's an acquired taste. Look, the film knows it’s dumb, hard-hitting, B-movie popcorn fodder, but with none of its changes improving on the original, I can't give it a positive review. That, and it is sorely missing Sam Elliott's Wade Garrett. QUENTIN If you’re a fan of 1989’s Road House , I assume you aren’t coming into the remake looking for high art. Working on that assumption, this version is a lot of big dumb fun. It’s the type of movie where the sheriff is named Big Dick (Joaquim de Almeida), and top goon Knox (Conor McGregor, who is clearly having a blast) has multiple tattoos of his own name across his abdomen. Most importantly, though, the fight scenes are energetic and exciting in an 80s throwback way. If it were a theatrical release, I may have been harsher, but my only real complaint is the lack of throat-ripping. PAIGE The remake of Road House lacks many of the elements that made the original a dumb, fun, cult favorite, even if it does have some mindlessly entertaining moments here and there. Director Doug Liman's handling of the material is, to be honest, uninspired, and the movie is far too flawed to be considered a respectable remake. The fight sequences are unrealistic and ridiculous due to the terrible editing and wonky camera work, all of the characters are utterly underdeveloped, and the story's dreary script made me not care about or appreciate any of its absurdity. KATIE Admittedly, I have not seen 1989's Road House , so I wasn't sure what to expect with the remake, especially as a straight-to-streaming release. However, I had an undeniably great time, with my main criticism being that it is too long for a film with a barely discernable plot. Other than that, it's energetic, mindless fun, and it does exactly what it says on the tin, offering indulgent violence, fantastic fight choreography, and really impressive stunt work. Plus, Jake Gyllenhaal has plenty of charm, and Conor McGregor brings a surprisingly flamboyant energy to his role. CALEB Road House is a little rough around the edges, but it’s a hell of a good time. This movie just wants to have fun, and everyone involved seems to have gotten the memo. Jake Gyllenhaal oozes charisma while Conor McGregor delivers a delightfully over-the-top performance. The dialogue isn’t great, but when the performances are this entertaining, that becomes less of an issue. The fight scenes suffer from some weird visual effects decisions, but the creative choreography is energetic enough to make up for it. If you’re looking for an exciting action movie, and you don’t mind some cheese, then look no further than Road House .

THE KILLER (2024) Starring: Nathalie Emmanuel, Omar Sy, Sam Worthington, and Diana Silvers Director: John Woo AMARÚ Omar Sy and Nathalie Emmanuel can do (almost) no wrong. They’re two actors I thoroughly enjoy watching, no matter what they’re in, and are the predominant reasons I found entertainment in director John Woo’s remake of his own movie, The Killer . Individually, Sy is endearing and Emmanuel is intriguing. Together, their chemistry is delightfully playful, and it covers up the shoddy special effects and campy script that made me wonder whether Woo didn’t get a big enough budget, is losing his touch, or was always too damn dramatic for the U.S. With The Killer following Silent Night , I’m slightly worried about the answer. QUENTIN I have no idea why director John Woo decided to remake his own hard-boiled classic The Killer , and I especially don’t know why he traded in its gritty noir vibes for the kind of cheap-looking, ultra-glossy aesthetic you find almost exclusively on straight-to-streaming releases. But he did, and here we are, with a plethora of soullessly recreated Woo-isms. You want doves, cathedrals, and gunfights? They’re all here, but they’re done in the sort of superficial “style” that recalls drinking Purple Drink out of Tiffany crystal and calling it “classy.” Woo’s heyday is something to remember, but he clearly doesn’t have it anymore. This is barely serviceable.

SPENCER Starring: Kristen Stewart, Timothy Spall, Jack Nielen, Freddie Spry, Jack Farthing, Sean Harris, Stella Gonet, Richard Sammel, Elizabeth Berrington, Lore Stefanek, Amy Manson, and Sally Hawkins Director: Pablo Larraín JACOB At first, Pablo Larraín's Spencer seems cold and harsh in a manner that prevents one from becoming emotionally invested, but as one realizes where the film is headed, the deliberateness of that choice becomes clear. As much as this is a film about Diana Spencer (Kristen Stewart), it’s also about cages, the lives they suffocate, and what can flourish outside of them. Stewart has never been better, with her performance surely to be an Oscar winner, and the design work is absolutely stellar. Jonny Greenwood's jazz-infused score is another awards-caliber success as well. ADRIANO Spencer has yet to leave my subconscious and I doubt it will for some time, as the movie takes an interesting look at Princess Diana (Kristen Stewart) in ways that aren’t even slightly conventional. Stewart has never been better, giving a stunning and thoroughly heartbreaking performance, while Pablo Larraín's breathtaking direction simmers through nearly every frame. The incredible production values and cinematography blew me away, and Jonny Greenwood's haunting score really sets the tone. This film, easily one of the year’s best, ultimately builds to an incredibly satisfying ending that left me smiling as I left the theatre. QUENTIN Spencer checks nearly all the boxes for an Oscar contender: An artsy take on a (generally) true story about a famous figure starring a talented young actress who has yet to elevate from “movies” to “films.” And, you know, director Pablo Larraín and star (and likely Oscar winner) Kristen Stewart absolutely understood the assignment. They kill it. That said, I didn’t enjoy the experience. Between the slower parts and the random flights-of-fancy, it portrays Princess Di (Stewart) as somewhat crazy, making it hard to invest in her. I definitely respect the craft of Spencer , but I didn’t like the movie.

DEAD OF WINTER Starring: Emma Thompson, Judy Greer, Marc Menchaca, Laurel Marsden, Gaia Wise, and Cúán Hosty-Blaney Director: Brian Kirk KATIE Dead of Winter is a solidly entertaining and straightforward thriller, with an unexpected performance from Emma Thompson. It’s really refreshing to see a woman in her mid-60s in a role like this, and Thompson makes a capable and compelling action hero. Co-star Judy Greer is excellent at playing crazy, and that’s exactly what she does in this role. Yet, although her performance is convincing, I found her character to be underdeveloped, which made her motivations confusing. The story is engaging overall, but the use of flashbacks, which felt disconnected from the narrative and Emma Thompson’s character in the present, is distracting. NICK Dead of Winter is an entirely new direction for Emma Thompson, and yet it works for her. Unlike many films where the reluctant hero is a surprise, elite asskicker, Thompson’s Barb is just an older civilian trying to do some good. It gives Winter a different complexion than similar films. As good as Thompson is (Judy Greer is also terrific), the story is filled with plot holes, an over use of flashbacks, and a surprising lack of urgency considering the situation at hand. An oddly beautiful ending aside, this is an average film elevated by some above average performances. ADRIANO In full honesty, Dead of Winter didn't seem like something I'd like, but Emma Thompson's involvement had me curious as to why she'd take on this thriller role. The film wound up being about what I expected, minus a rather touching, if not unearned, ending. Thompson and Judy Greer were great, but story-wise, it feels mostly pointless with minimal thrills. While none of the emotional stakes presented got much out of me, I wouldn't call this a waste of my time. Just... an okay movie.

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.

THE DINK Starring: Jake Johnson, Mary Steenburgen, Aaron Chen, Ed Harris, Ben Stiller, and Patton Oswalt Director: Josh Greenbaum QUENTIN A sort of unassuming, B-comedy hybrid of Happy Gilmore and Hot Rod , The Dink only worked for me as well as it did — which is to say barely at all — because I’m a big Jake Johnson fan. His affability and ability to deliver grounded absurdity sells every bit of the movie’s silly premise and not-all-that-funny jokes. With anyone else in the lead, my rating is probably way worse because I didn’t really laugh or catch feels when the story reached its inevitable conclusion. But I got to spend almost two hours (virtually) hanging out with Johnson, which will never feel like a waste of time. ROBERT Comedy and Apple haven’t been hitting at the highest success rate, but for me, sports comedies always start with good footing. When I think about The Dink , I think about 2010s Adam Sandler comedies, but with less absurdity. That isn’t always good, but in this silly movie about pickleball vs. tennis, it keeps it contained and on track. I haven’t seen all of Jake Johnson’s work, but he has such charisma as a doof and a man-child drafting off his glory days, he fits well. The rest of the cast is also vibing, even if the writing and setups don’t always score points. KATIE Maybe it's because my expectations weren't very high, but The Dink caught me off guard with how funny and charming it is. Jake Johnson is very charismatic in the leading role and is perfectly suited for the goofy character. He's also surrounded by a great supporting cast, especially the always excellent Mary Steenburgen and a hilarious Aaron Chen. Some of the jokes fall flat, and the dialogue is sometimes clumsy, but I found its silly, cheesy sense of humour and absurdity rather endearing. Overall, this is a fun and good-natured throwback to Adam Sandler-esque comedies of the 2010s.

CHALLENGERS Starring: Zendaya, Josh O’Connor, and Mike Faist Director: Luca Guadagnino ADRIANO Have you ever watched a movie, then walked out of the theatre with a sudden burst of energy? That was me after Challengers , a film so electric that I found myself unblinkingly enthralled. Director Luca Guadagnino threw every crazy idea at the screen, and while there are some misses, the ones that hit are too entertaining to watch. With the bizarre sexual chemistry between the three leads at the forefront, Challengers is a brilliantly thought-out and complex tennis match of psychological warfare that barely ever lets up, and I'd be surprised if it didn't remain one of the year's best come December. QUENTIN Despite what the trailers advertised, Challengers surprisingly is a semi-bore that isn’t very sexy or exciting, featuring thinly drawn characters, an unsatisfying ending that doesn’t align with the shallow story that preceded it, and an abundance of blatant product placement (I mean…Applebees?). Plus, director Luca Guadagnino clearly is in try-too-hard mode, using a non-linear structure that hurts the movie’s pacing and plotting, slow-motion sweat drips galore, and “tennis ball cam.” It wasn’t until the final ten minutes that I leaned forward in my seat with enthusiasm, which is too late in the game. Admittedly, the score rips and the performances are great, but overall? Fault, Guadagnino. PAIGE In tennis terms, Challengers is an ace. Sparkling with energy, this commercial arthouse film features an electrifying score by Trent Reznor and Atticus Ross, a deft editing style with clever framework, and three fantastic and palpable performances by Zendaya, Mike Faist, and Josh O'Connor. With tennis as its backdrop, this exquisite character study on passion and desire demonstrates the drive and dedication needed to maintain a relationship. With that said, director Luca Guadagnino serves up a fierce and intimate drama packed with pulse-pounding tension on and off the court. KATIE Challengers is absurdly exciting and sexy, with a show-stopping performance from Zendaya, who is absolutely dripping in star quality and alluring charisma. The trio at the centre of the drama have magnetic chemistry, and all their interactions feel like an intense match of witty dialogue and erotic tension. A throbbing techno soundtrack by Trent Reznor & Atticus Ross injects a bolt of adrenaline into every moment, heightening the rhythmic quality of the games and intensity of the verbal altercations. Challengers kept me entertained and on my toes throughout, further solidifying Zendaya as our next true movie star. CALEB With Challengers , director Luca Guadagnino has cemented himself as one of the boldest, most exciting filmmakers of our generation. It’s a confident, sexy tennis drama with more style than you can shake a racket at. From the pulse-pounding EDM score to the unbelievable camera tricks, every element of this film feels inspired. Mike Faist and Josh O’Connor make for excellent rivals, and Zendaya’s subdued but fierce performance caught me off-guard in the best way possible. It’s rare that a movie has me on the edge of my seat, but the last ten minutes of Challengers had me in a chokehold. This one deserves all the hype. PRESTON Challengers does little to enhance my enthusiasm for tennis, and it shows what extremes must be taken in order to coerce the audience into feeling emotionally invested enough to feel the tension in the final act. Director Luca Guadagnino creates a misleading love story with tennis-like, back-and-forth storytelling that is more distracting than riveting. The over-the-top sexiness of its marketing ploy doesn’t deliver either, although some innovative camerawork and the overall sound do make up for many shortcomings. Zendaya shines, as expected, in a film that definitely fits more into the realm of “challenger” than Pro Tour. AMARÚ There’s a palpable energy throughout Challengers that initially clashed with director Luca Guadagnino’s jerky pacing and risked the opening act grinding the film to a screeching halt. But as the movie progressed and the volley of chemistry between Zendaya (a capital S, Star), Mike Faist, and Josh O’Connor ramped up, there was no denying the pulsating groove that kept building and building to a satisfying finish. Add in a great use of POV shots, slow-motion, and a titillating Trent Reznor/Atticus Ross score to make you as hot and bothered as possible, and you get the sexiest and most captivating film of the year.