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

GUILLERMO DEL TORO'S PINOCCHIO Starring: Ewan McGregor, David Bradley, Gregory Mann, Ron Perlman, Cate Blanchett, Finn Wolfhard, Christoph Waltz, and Tilda Swinton Director: Guillermo del Toro and Mark Gustafson ADRIANO After multiple iterations of Pinocchio over the course of several decades, you would think we had seen everything this tale can provide. However, in comes Guillermo del Toro’s Pinocchio to prove that notion wrong. There is so much to praise about this film that goes beyond 100 words: the updates to the source material are brilliant, the stop-motion animation is mind-blowing, the score feels legitimately magical, and the film’s themes of grief and love are outright beautiful to the point where I was in tears for the final 10 minutes. I truly believe this film is a masterpiece. NICK Guillermo del Toro is one of the best fantasy filmmakers of all time, and he once again proves it with this adaptation. An improvement on the 1940 Disney classic in every way, this is nothing short of a masterpiece. Del Toro leans into darker aspects of the story to create an unforgiving and honest commentary on mortality bolstered by some terrific voice work and stunning visuals. In a year where Marcel the Shell with Shoes On (a great film in its own right) felt like a foregone conclusion awards-wise, Pinocchio has blown that guarantee out of the water. An exceptional effort by del Toro. DARRYL Of the two Pinocchio adaptations moviegoers received this year, Guillermo del Toro’s proves to be the far superior in every possible category. One of the year’s best animated films, del Toro manages to appeal to both adults and kids alike, delivering a fun adventure while also dwelling on the magnificence that is life. With stellar vocal work from Gregory Mann and David Bradley (Pinocchio and Geppetto, respectively), the emotion shines through the performances, providing a wonderful father and son story that will stand the test of time. In all, del Toro continues to prove he’s one of the best in any genre and any medium of storytelling. QUENTIN If judging purely on craftsmanship, I’d give Pinocchio five reels. The character design is stunningly beautiful and hauntingly detailed, while the stop-motion animation is absolutely flawless. However, as a whole, the film didn’t do much for me. It could be that I was already too familiar with where the story needed to go, or the overly saccharine plot points and bland musical numbers just weren’t for me; either way, I found myself increasingly bored, making the two-hour runtime a struggle. Also, I’m not exactly sure who it’s for, as it feels simultaneously too dark for kids and too childlike for adults. It sure is pretty, though. JACOB Although I wouldn’t quite consider it a masterpiece, Guillermo del Toro’s Pinocchio is nonetheless one of the year’s best films, especially wherein it concerns animation. A multi-layered story of found family, love, loss, and bravery in the face of terror, this richly-textured piece of wonder features gorgeous stop-motion craftwork buoyed by yet another terrific Alexandre Desplat score and great sound design. Some of the dialogue and story progression is a bit broad, as is typical of the Pinocchio story, but del Toro’s affinity for weird creatures and unconventional settings make up for nearly all shortcomings. This one is special. AMARÚ Guillermo del Toro incredibly balances light and dark to tell deep stories in simple ways. That’s why he’s such a great horror director (read: director, period). So, it’s no wonder he re-imagined the most horrifying of all Disney classics, Pinocchio . It’s delightful, harrowing, brutal, and charming, with fantastic voice work (especially Ewan McGregor) and impeccable storytelling. But most striking is the air of constant sadness that sticks with you. The beautiful sadness of knowing that we must cherish our short time on Earth. See? Light and dark. Del Toro wonderfully utilizes both to bring us one of the year’s best films. PAIGE Like Geppetto (David Bradley), director Guillermo del Toro brings the magical tale of Pinocchio to life! With such astonishingly rich stop-motion animation and an outstanding score, del Toro and his team bring his unique style to the forefront of this gem while also appreciating the lore of this classic story. I’m not quite sure how the mature material, which reflects on the power of love, loss, and the preciousness of life, will sit with a younger audience, but I assume the older watchers will appreciate it much more because, damn, this film will give you all the feels.

BODIES BODIES BODIES Starring: Amandla Stenberg, Rachel Sennott, Maria Bakalova, Myha’la Herrold, Chase Sui Wonders, Lee Pace, and Pete Davidson Director: Halina Reijn JACOB Once more, A24 adds a win to their all-timer 2022 slate. Bodies Bodies Bodies doesn’t break much new ground for slasher flicks or murder mysteries, but it’s hard to recall the last time a film like it was this much fun and full of energy. Every new victim sends the delightfully messy cast of characters on a roller coaster ride of allegiances, betrayals, and mistrust, complete with hyper-Gen Z panic and brilliant improvisation. Each member of this terrific ensemble cast has pitch-perfect chemistry with the entire group, though it’s Rachel Sennott who emerges as the film’s ultimate MVP. ADRIANO I definitely wanna play Bodies Bodies Bodies because this Gen-Z murder mystery is packed for one hell of a fun time. It’s ridiculously funny and unnervingly tense at the same time. The movie constantly has us guessing, and the cast is perfectly suited to the craziness that ensues on screen, especially Rachel Sennott, who steals every scene she’s in. Where the film really succeeds, though, is in its satire, showing off the faux care and inherent narcissism of Gen Z a little too accurately. Bodies Bodies Bodies continues A24’s 2022 winning streak. PAIGE A24 is fucking killing it this year! Bodies Bodies Bodies is a bloody bloody bloody good time and a summer essential that should be on your must-watch list. It’s a hilarious, top-notch whodunnit that is phenomenally written and directed, not to mention the spectacular cast that portrays their characters perfectly. Plus, the best part is that the film maintains tension from start to finish. Overall, this is another great movie to add to A24’s successes in 2022, and I honestly think this movie was made just for me!

NONNAS Starring: Vince Vaughn, Lorraine Bracco, Linda Cardellini, Joe Manganiello, Drea de Matteo, Brenda Vaccaro, Talia Shire, Michael Rispoli, Campbell Scott, and Susan Sarandon Director: Stephen Chbosky KATIE Nonnas is an unexpectedly heart-warming comedy inspired by a true story. I loved the themes of connecting to your heritage and loved ones through food, and the sincere approach to the story makes it overly sweet, but easy to enjoy. The “nonnas” Susan Sarandon, Lorraine Bracco, Talia Shire, and Brenda Vaccaro are an endlessly charming bunch, and although some of their scenes don’t quite work, their performances are still a pleasure to watch, complemented by Vince Vaughn’s reliable, good-guy charm. Like the best Italian dishes, Nonnas is warm, cheesy, and familiar; a true Sunday afternoon kind of film. ADRIANO As an Italian man, I may have a bias to this personally relatable story, but I was so endeared by Nonnas that it nearly brought me to tears. I don't expect people without that connection to have a similar reaction as the movie can be pretty flat, both dramatically and comedically. But when I watched the nonnas and Joe (Vince Vaughn) discuss their familial migration history in a warm and goofy way, it was hard not to smile. Now, if you will excuse me, I'm going to go hug my nonnas. ROBERT A recipe for a successful Vince Vaughn comedy usually doesn’t rely on heart and emotion, but The Internship proved that is when his films are at their most unique. Nonnas is no exception, as juvenile humor has been replaced with warm messaging about honoring elders and the dead, and keeping family alive in tradition passed down, like food. Those heartfelt moments spoke to me the most, and seeing actresses I haven’t seen on screen in a while, like Lorraine Bracco and Talia Shire, inspired the most joy. I went in expecting something like 80 for Brady , but was fed something much more substantial.

LEAVE THE WORLD BEHIND Starring: Julia Roberts, Mahershala Ali, Ethan Hawke, Myha’la, Kevin Bacon, Farrah Mackenzie, and Charlie Evans Director: Sam Esmail KATIE Leave the World Behind is an immensely enjoyable semi-apocalyptic psychological thriller featuring magnificent performances from a stellar cast. The film gradually reveals intriguing details about the nature of the disaster, inciting a relentless sense of tension that slowly builds, emphasised by the striking, off-kilter score. The answers to the many questions that the film poses don’t really matter; it's the collision of the different characters, the awkward tension, and emotional drama that drives the plot. Though undoubtedly a slow burn, the pacing is great, and the intriguing premise held my attention. QUENTIN Driven by terrific performances and dynamic direction that fuels the unsettling tension that only grows over the course of the movie’s runtime, I can honestly say there were no moments in which I wasn’t fully engaged with Leave the World Behind …until the relatively unsatisfying ending, that is. Plus, while I was captivated while watching the film, as the credits rolled, several questions entered my mind that made me think, “wait, but why did…? That doesn’t make sense.” All that is to say, when you’re in it, this movie is a winner – just don’t think too hard about it once it’s over. CALEB Usually, I'm a fan of director Sam Esmail, but Leave the World Behind did nothing for me. The premise was too ill-defined to hook me, and the characters were far too unlikable to root for. The film is essentially one long build-up for a very, very weak payoff. This made it feel like something M. Night Shyamalan might direct, but unlike Old (2021) or The Happening (2008), Leave the World Behind is too pretentious to have any fun with. The empty critiques on consumerism are almost as annoying as the disorienting camerawork. I can appreciate what Esmail was going for, but unfortunately, this one is a miss. PAIGE Leave the World Behind may not be your typical apocalyptic thriller, but it is an ominously slow burn that keeps tensions high throughout (not to mention the stylish camerawork and all-star cast that enhances the 2.5-hour runtime). This somewhat unsettling film is extremely thought-provoking, which some will find fascinating, but it ultimately leaves you with more questions than answers. That said, while the end result may not be completely satisfying, the film’s commentary on human dynamics is powerful enough to stick with you. ADRIANO I admire certain ambitions of Leave the World Behind , but beyond that, I found the movie lacking. There is no real thematic depth to draw me in beyond its mystery and cast, nor did I think the satire had any real weight or even much to say. There are moments when the weirdness sucked me in, but it felt like writer/director Sam Esmail was simply trying to get reactions at times, even if that wasn't his intent. Lastly, I simply did not like the ending. I can't say it didn't entertain me at all, but I don’t think this movie is worth much either. NICK Leave the World Behind provides more interesting questions than answers, but thanks to its great performances (highlighted by Julia Roberts) and some excellent visuals from director Sam Esmail, it makes for an interesting watch. Unfortunately, there's something missing in the proceedings as the film is just never as gripping as it should be. It works great as an in-the-moment watch, but if you think about it too much after the fact, you’ll see that there’s definitely an aspect of style over substance littered throughout. This is what stops the film from being great, forcing it to settle on being merely good instead.

THE SUPREMES AT EARL'S ALL YOU CAN EAT Starring: Aunjanue Ellis-Taylor, Uzo Aduba, Sanaa Lathan, Mekhi Phifer, Kyanna Simone, Tati Gabrielle, Renee Harrison, Russell Hornsby, Ryan Paynter, Vondie Curtis-Hall and Julian McMahon Director: Tina Mabry AMARÚ More than three decades of “we shall overcome” black movies have made me numb to those stories, so I was initially hesitant to warm up to The Supremes at Earl’s All-You-Can-Eat ; however, the characters and relationships are too affectingly familiar to not feel at home. I know every one of these people, from the petty to the pious to the pompous, and Earl’s’ uptempo pace, along with believable performances, keep you hilariously entertained even if it storms through the numerous heavy themes. Led by fabulous turns by Aunjanue Ellis-Taylor and Kyanna Simone, Earl’s is a tale of struggle and sisterhood that warmed my soul. PAIGE At its core, The Supremes at Earl's All-You-Can-Eat is a lighthearted and sentimental film about the strength of friendship. While the story only lightly touches on heavy themes of racism, gender inequality, and adultery, there are several humorous moments that allow you to connect to the tribulations and joys that these characters go through in their lives. As a viewer, you’re able to relate to each of these characters because of the strong and authentic performances from Aunjanue Ellis-Taylor, Uzo Aduba, and Sanaa Lathan. All in all, Earl’s is a cute gem that feels like a cozy hug.

THE BLACK PHONE Starring: Mason Thames, Madeleine McGraw, Ethan Hawke, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, and James Ransone Director: Scott Derrickson JACOB There aren’t many surprises in store for those viewing Scott Derrickson’s first horror film since Deliver Us From Evil , but even so, this pseudo-supernatural drama does make for an entertaining movie experience. Less traditional horror than psychological thriller, the best thing about The Black Phone is how its ambitions don’t outstretch its reach. It’s not shooting for the stars or attempting to make some grand point. It’s simply taut, filled with good performers, and is very well-designed. I do wish we saw a little more of Ethan Hawke without the mask, but what’s given works well enough for me. PAIGE Director Scott Derrickson goes back to his horror roots with The Black Phone , a tense thriller set in the 1970s that is only enhanced by a creepy score. The film, which is adapted from a short story by Joe Hill (son of Stephen King), packs a punch similar to 2001’s Frailty . It’s a gut wrenching nail-biter of a film that will keep you on the edge of your seat, and while Ethan Hawke is haunting as The Grabber, I do wish we got more of his character. The real standouts are Madeleine McGraw and Mason Thames though, both of whom give breakthrough performances. QUENTIN In an effort to correct your expectations, The Black Phone is not a horror movie, and despite a few attempts at jump scares, it’s not really all that scary. It’s more of a suspense thriller, a sort of creepy Frequency meets Frailty . That said, it’s still pretty good, and Ethan Hawke plays an effectively unnerving villain (though his mask does a lot of the heavy lifting). Some genuine laugh out loud moments (both intentional and not) undercut the tension a little too much, and several of the child actors are downright dreadful, but you’ll never lose interest in what’s happening on screen.

DISENCHANTED Starring: Amy Adams, Patrick Dempsey, Gabriella Baldacchino, Maya Rudolph, Idina Menzel, James Marsden, Yvette Nicole Brown, Jayma Mays, Griffin Newman, and Alan Tudyk Director: Adam Shankman AMARÚ Disenchanted works best when it’s deconstructing fairy tale tropes. Amy Adams (Giselle) vs. Maya Rudolph (Malvina) as dueling evil queens, Gabriella Baldacchino (Morgan) sarcastically calling out her magical stepmother, and James Marsden (King Edward) going full Prince in real life was all a charming return to form. But the fine line between satire and Disney fantasy was too often blurred, forgoing smart parody for boring princess-story clichés, which sporadically disengaged me from the film. Less time in the musical fairy tale and more time in reality would have done this sequel some good. JACOB Unfortunately, Disenchanted continues one of the all-time bad movie streaks for one of our greatest actresses, as Amy Adams is forced to carry any and all of the fun of this film on her shoulders while everything else crumbles around her. Every idea seems to stem from the idea that the sequel had to happen rather than it being something people actually wanted to make. Each character not named Giselle (Adams) is at best two-dimensional, none of the songs are remotely as good as the predecessor’s, and every set feels like a soundstage. It’s not unseemly bad, but it’s bad.

NIGHT SWIM Starring: Kerry Condon, Wyatt Russell, Amélie Hoeferle, Nancy Lenehan, Gavin Warren, Jodi Long, Eddie Martinez, Elijah Roberts, and Ayazhan Dalabayeva Director: Bryce McGuire NICK Although the Night Swim trailer didn’t inspire confidence, I went into it with an open mind. I wasn’t expecting much, just a fun bit of spooky storytelling to waste 98 minutes on. What I got, however, was neither fun nor spooky. It’s been a while since a film has irked me as much as this one due to its gaps in logic (both big and small) and its inability to create any tension whatsoever. Aside from myself and my audience getting some laughs at the expense of the film, the only thing Night Swim made me feel was bored. A legitimate early contender for Worst of 2024. CALEB I was hoping Night Swim would be another 'fun-bad' horror movie like M3GAN (2023). Unfortunately, it isn’t fun at all, but it certainly is bad. For a story about a haunted swimming pool, the script takes itself far too seriously. The result is a maddeningly dull horror flick, devoid of any interesting concepts or exciting sequences. The effects are mediocre, the cinematography is flat, and the blatant lack of style is borderline insulting. Maybe if it took a few risks, it could’ve been fun, but Night Swim seems content playing in the shallow end where it’s safe… and boring. PRESTON Watching Night Swim can be equated to something excruciatingly mundane…going to the grocery store, perhaps? There are some moments of complete absurdity and mild perturbances, but it’s otherwise filled with the most unremarkable circumstances. I don’t know what it is about Blumhouse Productions’ films that make them solidly entertaining OR a complete trashcan fire, but this most recent release definitely falls into the latter category. If you are a fan of B-horror movies (even when they aren’t intentionally that way), you might get a kick out of watching when it hits streaming, but for everyone else…be forewarned. KATIE My expectations for Night Swim were not high, but I was hoping for some trashy, so-bad-its-good fun. Unfortunately, instead of leaning into the absurdity of the premise, it takes itself far too seriously, and is dull as a result. It is simply not scary in the slightest, struggling to maintain any sense of tension, and despite its relatively short run-time, it still feels too long, especially as the final act is drowning in clumsy exposition. The only redeeming aspect of the film is Kerry Condon, who gives the best performance she can in spite of the script and ridiculous plot.

PRISONER'S DAUGHTER Starring: Kate Beckinsale, Brian Cox, Christopher Convery, Ernie Hudson, and Tyson Ritter Director: Catherine Hardwicke NICK Did I enjoy Prisoner's Daughter ? Yes. Am I likely to remember it a year from now? Probably not. All in all, that really sums things up regarding this film. This is a movie that does nothing great and few things poorly, yet it kept my attention through its runtime. The strongest aspect of the film is the grandfather/grandson dynamic between Brian Cox and Christopher Convery, while the weakest is the painfully generic soundtrack that sounds like an amateur YouTube tribute video. Everything else is…fine. It may not light your world on fire, but you can do worse than Prisoner’s Daughter . QUENTIN The phrase “no need to reinvent the wheel” exists for a reason, and Prisoner’s Daughter is a very well-made wheel. It’s content to tell a fairly standard story about an estranged father and daughter (and grandchild), but it does so on the back of excellent performances from Brian Cox and Kate Beckinsale. The film even manages to subvert some of the more modest expectations, which came as a pleasant surprise. It’s not mind-blowing by any means, but it’s the kind of efficiently made, unpretentious grownup fare that we don’t see very often anymore. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

MASH VILLE Starring: Park Jong-hwan, Jeon Sin-hwan, and Jin Ye-sol Director: Hwang Wook This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK I don't partake in hallucinogenic drugs, but I can only imagine that's how director Hwang Wook wants you to watch this film. Mash Ville is bright, loud, campy, frenetic, and all over the map in a way that would make SNL 's Stefon blush. This film has everything: stylish cult members, poison liquor, shotguns, drunk cops, fake corpses, real corpses, the purest love... There's barely a coherent story here, and pretty much everyone in this thing is a cartoon character brought to life… but damn if I wasn't entertained. Mash Ville likely falls into the "so bad it's good” category, but I’ve certainly seen worse this year. QUENTIN Mash Ville is one of the most “extra, try-hard” movies I’ve ever seen. This chaotic mashup (get the title?) of comedic, western, thriller, crime drama, and action sensibilities makes no damn sense, nor is it remotely funny. Admittedly, I’m of the opinion that comedy is a genre that doesn’t work with subtitles because so much relies on timing, but still… I generally had no idea what was going on. I suppose that could mean something was lost in translation, but other than the Ennio Morricone-inspired score, I can’t call anything about Mash Ville watchable. How Hwang Wook won Best Director for this, I’ll never know.

THE LUCKIEST MAN IN AMERICA Starring: Paul Walter Hauser, Walton Goggins, David Strathairn, Maisie Williams, Haley Bennett, Shamier Anderson, David Rysdahl, Johnny Knoxville, Brian Geraghty, Patti Harrison, Shaunette Renée Wilson, and James Wolk Director: Samir Oliveros NICK If you're yet to be convinced that Paul Walter Hauser deserves more leading roles, The Luckiest Man in America is here to change your mind. This throwback true story of Michael Larson (Hauser) and the Press Your Luck scandal peeks behind the curtain of the events to keep the uninitiated wondering what will happen next. Director Samir Oliveros transports you back to the 80s with a tight story and vibrant colour palette that makes you feel like you are in the studio audience. No bells and whistles, just an honest approach to the story, which is precisely what Luckiest Man calls for. ADRIANO The Luckiest Man in America is probably the best version of what a movie adaptation of this story could look like. The story of Michael Larson (Paul Walter Hauser) isn't anything that grand, and I kinda thought the movie's attempts to make him out to be some folk hero were a little misguided; however, I still had fun. Hauser gives yet another great, ego-less performance that's easy to root for, and I enjoyed the kinetic editing. The writing is serviceable enough too, with some effective laughs and heart thrown in there. The overall experience was pleasant but forgettable. PAIGE Based on a true event, The Luckiest Man in America is a stylish flick that vividly captures the aesthetic of a 1980s game show. Its sleek and breezy runtime is bolstered by a great supporting cast and, of course, another outstanding and underrated performance from Paul Walter Hauser. Despite this, the film is a bit restrained due to its story not diving deep enough into its characters or ideas. In the end, it may not stick the landing, but it’s at least an entertaining watch that puts you on the set to watch these stakes unfold. KATIE The Luckiest Man in America is a solidly entertaining and stylish drama based on the true story of a 1980s game show scandal. Paul Walter Hauser is fantastic in the leading role as Michael Larson, bringing an uncomfortable intensity that is simultaneously disarming and unnerving. Considering it's based on real life, the film does well at generating suspense, intrigue, and exploring Larson’s motivations, enhanced by the brisk pacing and energetic editing, and the TV studio setting and tight camerawork add an element of claustrophobic tension. It’s not groundbreaking, but The Luckiest Man in America is a fun watch. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.