THE APPRENTICE Starring: Sebastian Stan, Jeremy Strong, Martin Donovan, and Maria Bakalova Director: Ali Abbasi QUENTIN Much like Oliver Stone’s W. , The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL -style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers. NICK It would have been easy for Sebastian Stan to lean into parody as Donald J. Trump, but he instead gives a layered and nuanced performance that evolves throughout The Apprentice . Following the rise of Trump, this is an origin story for everything from his mannerisms to his belief system. You watch as he cosplays through life as an adult to become the man he is today. Not to be outdone, Jeremy Strong carries the early going of the film, and both actors should be firmly in the awards conversation. I didn’t need more Trump, but I can’t deny I found this story rather interesting. ADRIANO While I don't think The Apprentice gives us much information on Donald Trump's (Sebastian Stan) psyche that we didn't already know, I don't think that is the full point of the movie. What the movie does offer is a haunting examination of how American pride can lead to an easy-to-game system, which can turn meek upcomers into crooked, narcissistic monsters. Jeremy Strong is excellent, but Stan gives a career-best performance, trading a faux imitation for a scarily accurate, egoless transformation that is uncanny at times. Although some of the story beats could've been fleshed out more, I dug this. AMARÚ Director Ali Abbasi has The Apprentice feeling as fast and dirty as the deplorable acts we witness from Roy Cohn (Jeremy Strong) and Donald Trump (Sebastian Stan), and it’s on the backs of those two tremendous actors, plus a striking performance from Maria Bakalova as Ivana Trump, that this movie moves. Mirroring the trajectory of Trump’s vexing persona, it meanders at its start, but just as Stan uncannily transforms into the figure we know today, the film commits to a debaucherous pace of ever-building lies, schemes, and deals that filled me with utter disgust. So, it did its job. KATIE The Apprentice isn't just a film about Donald Trump. It’s an exploration of the evil facilitated by capitalism, corruption, and pursuit of wealth at all costs. It’s a simplistic view of Trump's life, but, instead of playing a caricature, Sebastian Stan gives a truly impressive performance, effortlessly portraying Trump’s mannerisms and cadence as he slowly twists into the man that everyone knows today, and Jeremy Strong is disturbingly captivating as Trump’s mentor Roy Cohn. There is, however, a distressing scene that didn’t seem in tone with the film, didn’t add anything to the story, and disturbed my immersion since it was so jarring. PRESTON The Apprentice is as polarizing as the political atmosphere in which we now find ourselves. It’s one of the most well-done ax-jobs I’ve seen, but with the timing of release and the brutal portrayal (however authentic it may be), it definitely qualifies as an unabashed hit piece. Sebastian Stan (Donald Trump) is awesome, but the real star is Jeremy Strong (Roy Cohn), who takes on the character of the unscrupulous lawyer with screen-commanding presence. The film is overly harsh, depressing in tone, and disturbing at times…AND, it’s also worth a watch (if personal political leanings can be checked). This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

THE LAST DUEL Starring: Matt Damon, Adam Driver, Jodie Comer, and Ben Affleck Director: Ridley Scott JACOB There's not much in The Last Duel that sets it apart from other narratives like it, but enough of it works that it remains worth one's time. The Rashomon -style perspective shifts may allow the audience to see each side of the story, but it also means the film takes too much time away from moving the plot forward in order to recap things we already saw, making it feel sometimes painfully long. That said, the performances mostly work well (especially Jodie Comer), and the titular fight is a brutal battle that effectively demonstrates Ridley Scott still has immense directorial skill. ADRIANO I expected to hate The Last Duel , but it ended up being far better than expected. The way the story unfolds through a multi-chapter setup works much better than I thought it would. Granted, the first chapter is incredibly boring and atrociously edited, but the second and especially third chapters are extremely engaging. The film's subject matter is effortlessly dealt with in a way that connects it to modern times. The cast is great, but it's Jodie Comer who is absolutely superb in the last chapter, which features the impressive feat of the titular duel. Definitely check this one out. QUENTIN Given the number of medieval epics Ridley Scott has directed, you’d think he’d be better at it. Unfortunately, aside from the actual duel, The Last Duel is a lengthy bore. It’s over two hours of “he said, he said, she said” (told as three separate chapters) before the exciting 15-minute showdown. And since those chapters are mostly recounting the same events from different perspectives, it makes much of the film feel like a retread of scenes you’ve already seen. That ending duel is violent and visceral, though. The movie needed more of that and less talk of 12th century litigation.

MATERIALISTS Starring: Dakota Johnson, Chris Evans, Pedro Pascal, and Zoë Winters Director: Celine Song ADRIANO If you're a Past Lives fan like me, you'll love what writer/director Celine Song offers in her sophomore film, even with its tonal differences. In Materialists , she gives the same honest approach to human relationships that we saw in Past Lives . Through the lens of a near-parody-like rom-com structure, she skewers the genre's superficial approach with incredible emotional weight, even in moments where we're being told the message. The headlining trio does incredible work here, as does Zoë Winters, to make this hit home. There aren't many ways to discuss Materialists without sounding corny, but this movie is what love is. NICK On occasion, I leave a screening knowing good and well my opinion is in the minority, and I struggle to understand the disconnect. That’s Materialists for me. There’s nothing inherently wrong with the film. I just didn’t enjoy it. The chemistry didn’t jump off the page (sometimes intentionally, as director Celine Song shows her cards early in the film), and the characters’ decision-making often felt disingenuous. I’m not some cold-hearted man who can’t enjoy a love story, I just push back on the idea that this is a good one. Perhaps you’ll feel different, but if not, know you’re not alone. AMARÚ In Materialists’ first 20 minutes, matchmaker Lucy (Dakota Johnson) describes a client as the epitome of average: okay salary, okay looks, okay personality, just okay. That’s also a pretty apt description for this movie. It’s an experience much like that of an okay first date, a lot of dead air filled with single lines of dialogue struggling to keep the conversation going. Sometimes it works (Pedro Pascal’s effortless charm makes the transactional screenplay interesting) and sometimes it doesn’t (Chris Evans was given nothing to do until the end). Luckily for director Celine Song’s second feature, it was okay enough to want a third date. BODE When Materialists opens with a quiet pre-civilization prologue, it’s clear that writer/director Celine Song won’t go about the rom-com conventionally. Its ambitions are loftier, in ways that are intellectually alluring in its first half, but emotionally excluding in its second, lacking much of the warmth and passion needed for it to pack a punch. It certainly has moments of depth (script-wise) and beauty (from its three leads, of course, to the great Shabier Kirchner’s photography), making this not bad as is. Compared to Past Lives however, I can’t help but feel that this is a fairly significant step-down.

BELFAST Starring: Jude Hill, Caitríona Balfe, Jamie Dornan, Ciarán Hinds, and Judi Dench Director: Kenneth Branagh JACOB Once viewed, it’s easy to see why writer/director Kenneth Branagh's Belfast is a frontrunner for Best Picture. Beautifully photographed in black and white, the semi-autobiographical, coming-of-age tale is deeply sweet and often quite funny while featuring great performances across the board (Caitríona Balfe is a lock for an Oscar nomination). However, there are frequent opportunities in the film for Branagh to comment on larger conflicts, but these moments are mostly just background noise, seemingly important context that remains unexplored. Nonetheless, the subtle charms of the film’s main narrative are undeniable. ADRIANO Belfast is an undeniably sweet film. It takes a bit to get going (the opening sequence is actively bad), but once it picks up, it’s hard not to get swept away by the film's heart. It’s clearly a personal story for writer-director Kenneth Branagh, which makes it super easy to connect with. It certainly hit me right in the feels. On top of that, it boasts very good cinematography and an incredible ensemble, specifically Caitríona Balfe and newcomer Jude Hill. Overall, it’s a beautiful story of family and home that is definitely worth a watch.

DEVOTION Starring: Jonathan Majors, Glen Powell, Thomas Sadoski, Christina Jackson, and Joe Jonas Director: J.D. Dillard QUENTIN Other than being bland and formulaic, not to mention that Maverick definitely stole some of its thunder (Glen Powell being in both doesn’t help), there isn’t anything inherently wrong with Devotion , but there isn’t anything particularly remarkable about it either. The emotional beats elicit little feeling in the viewer, while the dogfight scenes don’t generate many thrills. The acting is fine, even if the characters are fairly standard archetypes, but the film lacks the gravitas that this true story deserves. And I get the story is what it is, but the ending just doesn’t hit all that hard. It’s only slightly better than Flyboys . NICK One has to think Devotion would have been far better received had it come out in 2021. As it stands, it’s a film that pales in comparison to Maverick in virtually every way. That doesn’t make it a bad film, though. Devotion takes some time to find its footing, but once it does, it settles into a nice story of friendship. Jonathan Majors and Glen Powell (who is much more subdued than in Maverick ) carry the weight of the story admirably, while the visuals are still nothing to scoff at. So, sure, Devotion can’t match up to Maverick , but that’s not really its fault. ADRIANO Devotion , or as I like to call it, Mid Gun , is extremely average. Glen Powell and Jonathan Majors both make for great leads, and it’s well shot, especially the aerial sequences; however, from a story standpoint, it’s nothing groundbreaking and it’s not very engaging. It’s a great true story that truly deserves to be told, but it feels like it’s missing a backbone. And I must address the elephant in the room, but coming out months after Maverick does it no favours whatsoever. It makes the movie’s spinelessness even more apparent. JACOB As war films go, Devotion rides the line about as close to center as one can get while still having a little something more to offer. Even with some awkward pacing and a borderline average sense of stakes, the film still boasts terrific performances from Glen Powell and Jonathan Majors, whose on-screen chemistry is what gives the movie its much-needed verve when it slows down. Not everything works to that level, though, and as good as the action sequences often are, they’re too short to make much of an impact. That said, this one is worth a watch. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE CHRISTOPHERS Starring: Michaela Coel, Ian McKellen, Jessica Gunning, and James Corden Director: Steven Soderbergh AMARÚ Here is one thing I didn’t think I would say about The Christophers : it’s adorable. Or more appropriately, Sir Ian McKellen playing devilishly adorable makes the film an entertaining watch. He’s a one-man wrecking crew of brash insults and hilarious narcissism. Michaela Coel, conversely, plays off him tremendously with just a piercing look, and both performers needed all the charm they could muster to dive deeper into the messages of adequacy and affirmation the surface-level script couldn’t quite grasp. The leads prove there’s something to this film, and you could feel that every time the story just escaped beyond that something’s reach. BODE Whenever director Steven Soderbergh and screenwriter Ed Solomon have collaborated, the results (which include Mosaic and No Sudden Move ) have never been uninteresting. The Christophers is their fourth project together, and it’s a chamber piece that ruminates on the relationship between art and commerce. It never gets as deep as one would hope, and the pacing can be a bit lackadaisical at times, making it their weakest effort. Still, it’s got great actors like Ian McKellen and Michaela Coel charmingly riffing off each other, alongside a great score from Soderbergh regular David Holmes. So, you can’t go too wrong with that. ADRIANO Director Steven Soderbergh’s commitment to always delivering something different continues with The Christophers . This one seems a lot more personal to him, as it explores the mere idea of singular artistic expression, although his recent gleeful acceptance of AI does make me question that thesis. All that said, while watching Michaela Coel and an erratic Ian McKellan going at each other's throats is entertaining, The Christophers loses its edge early, in part due to the loose plot ending quickly. Soderbergh’s direction is also uncharacteristically unengaging, making even the more enjoyable moments, like the film as a whole, ultimately forgettable. This film was reviewed by Amarú as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

RANDOM ACTS OF VIOLENCE Starring: Jay Baruchel, Jesse Williams, Jordana Brewster, Niamh Wilson, and Simon Northwood Director: Jay Baruchel NICK Peter Farrelly, Adam McKay, and Todd Phillips are just a few examples of comedy directors that have successfully jumped genres. We can now add Jay Baruchel to that list. Baruchel balances vintage horror tropes and fresh ideas to create an entertaining yet thought-provoking film that looks at the effect of gratuitous violence in the media. It doesn’t want you to take pride in its disturbing killings, but to simply feel them. It's a unique approach and one of many ways Random Acts of Violence breathes new life into the slasher genre. This one is sure to become a cult classic. QUENTIN There is probably a worthwhile commentary on society's obsession with true crime somewhere in Random Acts of Violence , but it's buried under a lot of garbage. 1. The protagonists are underdeveloped and unlikeable. 2. The villain, who lacks a tangible motive until a semi-predictable one is lazily tacked on, isn't frightening. 3. The kill scenes, while gory, aren't creative. Director Jay Baruchel tries so hard for a grindhouse auteur aesthetic that it's off-putting, then he couples it with fairly unoriginal slasher movie tropes that completely lack tension. Believe it or not, I actually love horror movies... Just not this one.

IMAGINARY Starring: DeWanda Wise, Taegan Burns, Pyper Braun, Betty Buckley, and Tom Payne Director: Jeff Wadlow NICK Let me get this out of the way: Imaginary is not a good film. It’s filled with all the clichés you find in the horror genre, from archetype characters to gargantuan leaps in logic. But… I’d be lying if I said this thing didn’t keep me entertained throughout. There’s no atrocious acting, the script leans into the ridiculousness of it all, and, conceptually, it’s a fun idea. I fully expect more negative reviews than the one I’m giving here, but for me, I’m far more likely to revisit this than something like 2022's M3GAN . Just turn off your brain and try to enjoy. CALEB Without a hint of hyperbole, I can confidently state that Imaginary is one of the most poorly written horror films I’ve ever seen. Between this, Five Nights at Freddy’s , and Night Swim , I am slowly becoming convinced that second drafts are actually discouraged over at Blumhouse. The pacing is torturously slow, the clichés are endless, and the redundant, pointless exposition is beyond infuriating. The script is the film's biggest flaw, but the hideous cinematography, wooden acting, and mediocre CGI don’t help matters either. I'll give it props for using some practical effects, but beyond that, Imaginary has very little worth praising.

COYOTE VS. ACME Starring: Will Forte, Lana Condor, John Cena, Eric Bauza, Martha Kelly, Luis Guzmán, P.J. Byrne, and Tone Bell Director: Dave Green AMARÚ With about four different storylines that all move at a clip as fast as the Road Runner, Coyote vs. Acme is full of chaos, energy, and propulsion that shouldn’t fit together on paper. That is until the very strategic reduction in pace demonstrates how these very anarchic pieces fit together in a surprisingly heartfelt puzzle. The writing is sly and stylish, bringing an unexplored dynamic to the Coyote that plays well off of Will Forte’s bumbling nonchalance. It’s structured chaos that’s hard to describe but easy to enjoy, and somehow finds a way to pay off all its disparate and disorderly parts. ADRIANO Imagine how jaded one has to be to watch Coyote vs. Acme and think “nobody should be allowed to see this.” The irony of the plot being about corporations viewing the Looney Tunes as disposable elevates the hijinks because these characters are still insanely funny. Alongside Will Forte’s dependable comedic timing, all the slapstick and visual gags of the Looney Tunes’ best days are present, and aside from a few lulls, they had me laughing consistently. Best of all, there’s a surprising amount of heart and sincerity towards go-getterism at its core. Everyone needs to see this. NICK After years of uncertainty, Coyote vs. Acme is here, and it remains baffling that any studio would ever consider shelving this project. The reliable Looney Tunes are once again on their game in a film filled with visual gags, witty dialogue, and even some heart. Pair them with fully committed performances from their live-action counterparts Will Forte, Lana Condor, and John Cena, and you have one of the better live-action/animated hybrids we've seen in quite some time. Plus, although this is a film for all ages, it definitely has some adult jokes made for those who grew up on the Looney Tunes. ROBERT The plot of Coyote vs. Acme feels like the distillation of a debate from the movie Clerks , and I am here for it! This is my favorite live action/animation crossover since Space Jam because it feels like these worlds always lived together in the context of the film. Beyond the obvious Looney Tunes bits, there are some subtle jokes and references that grabbed me, and the visual occupation of both elements onscreen is seamless. Also, it gives some pathos to silly, animated characters I didn’t think was possible. Ketchup Entertainment and Legion M rescued a gem from a black hole. BODE There’s no downplaying how miraculous it is that everyone gets a chance to see Coyote vs. Acme , since it almost got killed for a tax write-off. It was a baffling possibility to begin with, but it’s also ironic given its anti-greed/anti-conglomerate message. It’s a message which director Dave Green and screenwriter Samy Burch hammer with all the classic slapstick you would want out of a Looney Tunes movie, as well as some surprising amounts of heart. It’s definitely not perfect, but on the scale of Who Framed Roger Rabbit and Space Jam , this gets closer to the quality of the former. Enjoyable for all ages.

MONKEY MAN Starring: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhulipala, Sikandar Kher, Vipin Sharma, Ashwini Kalsekar, Adithi Kalkunte, and Makarand Deshpande Director: Dev Patel QUENTIN There is nothing bad about Monkey Man , other than since it’s reminiscent of so many movies I’ve seen before, I found myself losing interest as it went on. John Wick , Kill Bill , and Batman Begins are all there…they just have an Indian flavor now. Plus, I think the story would have been more engaging had it been told in a different order. That said, on a positive note, this is a tremendous debut for Dev Patel behind the camera. The shots he created demonstrate that he has an excellent eye, and if nothing else, Monkey Man has made me eager to see what he directs next. ADRIANO In Monkey Man , Dev Patel steps behind the camera for the first time with the ambition and talent of an experienced director. I do wish the movie's writing was more engaging and less of a sloppy mess, though. For the first 40 or so minutes, I was thinking to myself, "can we move on?" That said, once the action hits, it HITS; it's stylized, precise, gory, and so intensely brutal. I was eating every second of it, especially during the wildly kick-ass third act. I'm very excited to see what Dev Patel's directorial career has in store. NICK With Monkey Man , Dev Patel, in his directorial debut, becomes the latest actor to jump into the role of action star. In terms of his performance, he is badass, violent, and commands the screen. The direction and script need work, though. Patel shows promise behind the camera, but whether it’s him or the editors, the action in the first half of the film is far too frenetic and hard to follow. Also, the social and cultural commentary lack the development they need to carry weight. It’s a fine first crack, but I look forward to Patel’s growth in his next effort. AMARÚ Damn, Dev Patel did not have to go that hard. From the epic needle drops to his forceful direction and powerful performance, Monkey Man is his tour de force as writer, director, and action star. Even amongst massive pacing whiplash in the second act that made the film drag a tad bit too long, you can feel the sheer focus of Patel’s voice and the intense passion he put into each frame. This directorial debut is a helluva statement, and if his next outing can tighten up the narrative structure, we may have the next event filmmaker on our hands. KATIE Monkey Man is an electrifying directorial debut from writer, director, and star Dev Patel, who gives an exceptional performance as the titular action hero. Patel’s passion for the project is evident in every frame, and the film is not only an impressive addition to the action-revenge genre, but also sets itself apart by diving into themes of political unrest. The action is ultra violent and frantic, beautifully choreographed with enough sweat and grit to have an impact and appear authentically brutal, while the camera fluidly follows every punch thrown and bone broken. I cannot wait to see what Patel does next. PRESTON Monkey Man could be reductively classified as an Indian John Wick , but that may be giving the film a little too much credit. While I think Dev Patel does a great job with his acting, the film suffers from a lack of focus overall. Patel’s directing style, featuring crazy whip pans, shaky handheld shots, and zooms are ambitious but disorienting. For a style that is usually right up my alley, I quickly lost interest, and coming in at two hours, the editing could be much more robust. The potential is there, though, and I hope Dev Patel continues on this well-intentioned path. CALEB Although it has some problems, Monkey Man is still an extremely impressive directorial debut from Dev Patel. It’s a blood-soaked revenge-thriller that’s bursting at the seams with adrenaline and grit. The action sequences are undeniably fantastic, but the narrative occasionally stumbles. Although I can commend the second act for addressing some important cultural and political problems, I wish it didn’t have to grind the film to a halt in order to do so. Despite the wonky pacing, Monkey Man is still a solid action flick with amazing cinematography, passionate performances, and one hell of a finale.

NOVOCAINE Starring: Jack Quaid, Amber Midthunder, Ray Nicholson, Conrad Kemp, Evan Hengst, Jacob Batalon, Betty Gabriel, and Matt Walsh Directors: Dan Berk and Robert Olsen NICK The reluctant hero is a role that fits Jack Quaid like a glove, and Novocaine allows him to showcase his talents as a full-feature lead. I'd say he passed his first test. The film has issues, mainly a wholly unnecessary twist and an over-the-top cartoony villain, but Quaid is not one of them - nor is Amber Midthunder who had been sorely underutilized since 2022's Prey . The gimmick (being impervious to pain) provides some gnarly injuries while the supporting cast supplies laugh-out-loud moments, but mainly, it’s just a fun time at the movie theatre. Tidy some things up and I’ll gladly take a Novocaine 2. ADRIANO Novocaine is a perfectly watchable piece of entertainment, but it lacks a personality, which is why I think it didn't have much of an impact on me. That said, there's clearly stuff to at least enjoy here, especially as a great showcase for Jack Quaid's leading man charm. Whenever the movie was committed to its ragdoll premise, it was really funny and borderline gross. It doesn't always commit, and the movie features a huge plot twist that adds nothing, but I left enjoying Novocaine , even if I suspect it'll be fleeting. BODE Novocaine sees Jack Quaid finally step into the role of leading man, and it’s an effective showcase as he’s able to infuse his natural charm into the protagonist with ease (his moments opposite Amber Midthunder are sweet highlights). Unfortunately, even with some wince-inducing moments, the film is too middling to leave a lasting impression beyond its central gimmick (especially at a near two-hour runtime) due to its cookie-cutter villains, lackluster humour, and big twist midway through that ultimately goes nowhere. Novocaine isn’t exactly a painful sit, but it’s not a memorable one either. AMARÚ Something I wasn’t expecting to say about Jack Quaid’s first real headlining film, Novocaine : that was really cute. Yes, it’s gory and action-packed, but the heart of the film is the relationship between Quaid and Amber Midthunder, who needs to be in many more things, by the way. They have real chemistry throughout, and if you want to call this a romantic comedy with lots of action, I wouldn’t hold it against you. I also didn’t hold the outrageous script and flimsy plot points against the film because of how enjoyably its rom-comical narrative is mixed with the well-shot action. Great execution of silly fun. QUENTIN I’m almost always a fan of “badass with a gimmick” movies like Crank and Upgrade because they at least try to inject something fresh into the one-man-wrecking-crew genre instead of being just another John Wick (look, Nobody is great too, don’t get me wrong. But it is what it is). As such, it’s no surprise that I thoroughly enjoyed Novocaine . Jack Quaid takes the skills he has perfected on The Boys to create a charmingly reluctant hero that you want to root for, which makes the increasingly clever use of the feels-no-pain plot device, surprisingly effective humor, and the appealing rom-com coloring even more fun. ROBERT I’m a sucker for Jack Quaid because his whole vibe speaks to me, so I was in on the first notice about Novocaine . His energy brings the heart to make it a cute movie with Amber Midthunder, and the action plays to the rules of the world and Nate’s condition. I found the funniest person to be Ray Nicholson, being as unhinged as ever, but I was searching for more laughs that never came. The composition of the film is well put together, but I still wanted more. Ironically, Novocaine hits you in the feels, but nowhere else. BRYAN Filled with a ton of adrenaline and a surprising amount of charm, Novocaine is a wildly entertaining romp, anchored by a wonderful Jack Quaid turn. The action sequences brim with creativity, as well as brutality. The blend of action, romance, comedy, and even thriller can be overwhelming, but I was never turned off by the effort. It does overstay its welcome towards the end, and some of the twists may not stick the landing; however, this is a true crowd-pleaser that shouldn't work as strongly as it does. Two hours at the cinema well spent, if you ask me.

THE RIP Starring: Matt Damon, Ben Affleck, Sasha Calle, Steven Yeun, Kyle Chandler, Teyana Taylor, Catalina Sandino Moreno, Lina Esco, and Scott Adkins Director: Joe Carnahan PAIGE While Joe Carnahan’s The Rip is a somewhat generic crime thriller, its twisty cop mystery keeps you on your toes throughout. Matt Damon and Ben Affleck’s stellar chemistry is what keeps the film grounded, though the rest of the supporting cast isn’t given much to do. That said, it’s still a tight-knit movie with limited locations, well shot shootouts, and a third act that rips. It honestly felt like a throwback to 90s and early 2000s cop movies with its shady characters and lingering suspicions. Overall, this enthralling thriller is a solid Netflix original. ROBERT Miami, cop conspiracy, too much cash…you don’t need much more for an entertaining action thriller. Director Joe Carnahan knows how to ratchet up the intensity with bullets and bravado, and The Rip is no exception. The mystery at the heart of the story isn’t as compelling on its own, but how it is sold through deception and the strain on the relationships, particularly with Matt Damon’s Dane and Ben Affleck’s J.D., is where the movie is on its most solid footing. The ensemble cast around our two friends is mostly additive, some third act letdowns notwithstanding. Netflix continues a solid run of B-movie shoot-em-ups. AMARÚ The Rip drops you right into the chaotic pre-storm calm, so be prepared to not know what the hell is going on for most of the film. That had me fully engaged, thrilled, and puckered during this surprisingly not-so-action-packed action thrill ride. Writer/director Joe Carnahan, Matt Affleck & Ben Damon (since they are truly one entity), and the plethora of “oh shit, they’re in this too?” cast members make the character dynamics and unraveling mysteries the priority amongst the cop-killing, back-stabbing, chess-playing corruption, right up until the not-as-intriguing, but still entertaining, actually action-packed finale. A solid January watch by my standards. BODE If anything could’ve gotten me to watch a new Joe Carnahan movie sent straight to Netflix, it’s Boston royalty Ben Affleck and Matt Damon. And with the aid of an almost overqualified supporting cast (future Oscar-nominee Teyana Taylor! Oscar-nominee Steven Yeun! Emmy-winner Kyle Chandler! Vulture Stunt Award-winner Scott Adkins!), they manage to bring some verve to The Rip ’s macho stylings. Though it doesn’t reach the heights of similar dirtbag cinema favourites like Den of Thieves or Sabotage , it has enough solid shootouts and twisty tension to pass the time decently. A perfectly okay January watch. KATIE The Rip is a middling crime-thriller. The performances are solid, with Steven Yeun as a stand-out, but the rest of the cast, particularly the heavily underutilised female characters, may as well have not existed. Ultimately, this is the Matt Damon and Ben Affleck show, and their chemistry is the only unique thing about it. The reveals aren't surprising, and the plot is never clever; but oh, don’t worry, because its convolution overexplains every contrivance, double-crossing, and bluff with helpful flashbacks. It’s only nearly two hours because of how long it spends explaining itself to the viewer. NICK It's always good to see Matt Damon and Ben Affleck on screen together, but The Rip doesn't live up to some of their other films. It's fine, but never really surpasses that. Director Joe Carnahan presents a more muted crime-thriller than you'd expect, as much of the runtime is spent learning the different characters’ motivations while investigating each other. Once the finale hits, you get the shoot 'em up action you expect, but it takes too long to get there. If there was anyone else in the lead roles I’d rate this lower, but Matt & Ben do enough to elevate this above average.