ELVIS Starring: Austin Butler, Tom Hanks, Helen Thomson, Richard Roxburgh, Olivia DeJonge, Luke Bracey, Dacre Montgomery, Natasha Bassett, David Wenham, and Kelvin Harrison Jr. Director: Baz Luhrmann JACOB Certainly the most audacious film released in 2022 so far, the ambitions of Elvis are something the movie itself can’t hope to match. Overly long yet somehow moving at the speed of sound, the brazenness of it is truly something to behold. Director/co-writer Baz Luhrmann throws so much at the wall that some of it can’t help but stick due to sheer volume, and Austin Butler’s genuinely great performance as the King of Rock and Roll is the glue holding up whatever sticks. Though it’s no worse than most other biopics of its kind, its frenzied editing and flashiness will leave you exhausted. QUENTIN Despite hitting many of the familiar biopic story beats, Elvis is anything but typical. Director Baz Luhrmann’s panache manages to make the usual tropes feel refreshing while also threatening to derail the whole enterprise. However, Austin Butler, who gives such an electric performance that it feels like the closest this Elvis fan will ever get to experiencing the energy of a live performance from The King, holds it all together. Admittedly, the movie is a tad long and, overall, more tragic than rousing, but I walked away with a better understanding of the man behind the legend. What more could you want from a biopic? ADRIANO I thought Elvis was bad. Not awful, but bad. Yes, Austin Butler is incredible in what is genuinely a star-making performance, and the concert scenes can be pretty great; However, I can’t tell if that’s credit to Butler or director/co-writer Baz Luhrmann. As a film, it’s generally well made. Unfortunately, Luhrmann’s signature style doesn’t mesh with this standard biopic story, while Tom Hanks is miscast and ultimately distracting. Plus, it’s... Just. So. Long. I felt every second of the runtime because the movie is all over the place and extremely unfocused. It’s yet another standard musical biopic that I’ll never see again.

EVIL DEAD BURN Cast: Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Errol Shand, and Maude Davey Director: Sébastien Vaniček BODE If you took Evil Dead and filtered it through the New French Extremity lens, it would probably look like that franchise’s latest instalment, Evil Dead Burn . Wearing its visceral energy like a badge of honour, director Sébastien Vaniček places his stamp with a mean streak not seen since the 2013 reboot, and brutal set pieces so unflinching that I’m frankly shocked that this movie got away with an R-rating. It can slip up whenever it tries to get at something deeper, creating the occasional tonal clash, and I could do without its two post-credits scenes. Nevertheless, it’s a solidly messed-up time. ROBERT The 21st century hadn’t initially been as kind to the Evil Dead franchise as the 20th. Then, a Starz show and Evil Dead Rise put wind back in its sails, and now, it spreads its wings again with Evil Dead Burn . It doesn’t have a campy bone in its body, but it connects with its unrelenting gore and action, and even though it isn’t always successful, it attempts to further expand the lore through the veil of generational turmoil passed down through an unlucky family. The effects were shocking and grounded and left me wanting more. Hail to the King, baby!

BLACK BAG Starring: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan Director: Steven Soderbergh ADRIANO Who's Afraid of Virginia Woolf? but with spies? Yeah, bring it on, because Black Bag is pretty great. Director Steven Soderbergh is very hit or miss for me, especially as of late, but I can safely say this is my favourite of his in quite some time. Granted, some of the grand espionage stuff lost my interest at times, but when the film focuses on its personality-driven domestic storylines with its cast of very interesting characters, I was completely locked in. Dialogue is the film's weapon, not action or spy gadgets, and Soderbergh's deft hand drives it to whole new heights. PAIGE Black Bag is Steven Soderbergh‘s version of Mr. & Mrs. Smith , offering a unique perspective of the spy genre by focusing on the character’s personal dynamics rather than high-stakes action. However, despite its sleek and suave appearance, this espionage film is often dull and lacking in tension. It may be a tight mystery thriller, but it needed more substance to paint a clearer picture of the overall story we're thrown into. There just wasn’t much to rope me into the story besides Michael Fassbender’s and Cate Blanchett’s performances. QUENTIN Following up the very good supernatural drama Presence with espionage thriller Black Bag might prove that director Steven Soderbergh is back because Bag is easily his best movie since Ocean’s Eleven . An action-free affair, which might sound boring but is anything but, this is a tense and taut movie for grown-ups that is built on tremendous performances, precise dialogue, and well-played reveals. In many ways, it’s like Soderbergh blended Tinker Tailor Soldier Spy with the Ocean’s franchise, with the impeccable score especially recalling the well-loved heist movies. Plus, with a brisk 90-minute runtime, it never overstays its welcome like the laborious Tinker . Great movie. NICK Although he has had a successful career, the recent works of director Steven Soderbergh have been a mixed bag (no pun intended). He may be back, though, as he takes what looked like an obvious Mr. & Mrs. Smith -style film and presents something far more interesting. It's a beautifully filmed, well-acted, and expertly written story that will genuinely keep you guessing throughout. Although not overtly crass or sexual, this is an "adult film" thanks to a maturity rarely seen. It can find levity in its laughs and romance, but they’re sprinkled throughout tension you could cut with a knife. BRYAN One thing to commend director Steven Soderbergh for is his eclectic range as a storyteller, especially with Black Bag , a tribute to the classic spy espionage thrillers of the 1970s. Cate Blanchett and Michael Fassbender headline the sexiest and most ferocious ensemble of the year thus far, and while there are plenty of tension-filled moments, I was left at a distance by the end. I love a breezy 90-minute runtime, but all the resolutions come too quickly, resulting in everything feeling rushed in the long haul. I'm very down-the-middle on this one, but it’s one I’m craving to rewatch. BODE Throughout his career, director Steven Soderbergh has displayed a masterful knack of finding new ways of exploring themes and genres he’s fascinated with. He does so again with his latest, Black Bag , where the world of espionage (which he once tackled in 2011’s Haywire ) is used as a backdrop to comment once more on the complicated relationship between love and honesty (which he first examined in 1989’s Sex, Lies, and Videotape ). The results are thrilling, thanks to David Koepp’s tight script, a sensational ensemble and, as always, Soderbergh’s sleek technical craft. As the kids say, we’re so back.

MEN Starring: Jessie Buckley, Rory Kinnear, Gayle Rankin, and Paapa Essiedu Director: Alex Garland NICK Three films into Alex Garland's directorial career, female empowerment has been a recurring theme in each of his features. In Men , it’s the strongest theme. Jessie Buckley gives a great performance in the lead role, but this is as slow a burn as you can get, which definitely causes some pacing issues. That said, when the film leans more into body horror in its latter half, I found myself wishing we’d stayed the course, as the slow burn tale felt incomplete. Garland takes big swings here, and I can see Men being divisive for it. Personally, I think it’s his weakest offering. JACOB Whether Men succeeds or not depends on whatever the viewer thinks its goal is. On the one hand, the horror – driven more by ideas than by narrative – is arresting whilst watching it. Jessie Buckley once again wows as the lead, while Rory Kinnear’s chameleonic performance is a near masterclass. On the other hand, it is one of the least commonly accessible films Alex Garland has made, and its unforgettable ending does a lot to boost that distance from the mainstream. For better or worse, this will likely be one of A24 and Garland’s most divisive works. ADRIANO Men is odd, that’s for sure. For the first two thirds of the film, I was completely enthralled by it. Writer/director Alex Garland masterfully crafted a film that makes you feel uneasy the entire time. Even small, innocent moments can feel unsettling because, deep down, you know something is boiling under the surface. Also, Jessie Buckley is absolutely phenomenal. The last third goes off the rails, though. I do feel there are some things that Garland is trying to convey that I wasn’t able to catch on the first viewing, so a rewatch could help out. It has some issues, but overall, a worthwhile experience.

SHANG-CHI AND THE LEGEND OF THE TEN RINGS Starring: Simu Liu, Tony Leung, Awkwafina, Meng’er Zhang, Fala Chen, Michelle Yeoh, Wah Yuen, and Florian Munteanu Directors: Destin Daniel Cretton ADRIANO Shang-Chi and the Legend of the Ten Rings is a blast that demands a big screen. That said, it does share some of the same shortcomings as other MCU films. The visual effects are very shoddy, while the final act is a muddled CGI slugfest. However, what comes before that helps solidify it as one of the MCU’s best. This is mostly due to its style, which creates an undeniable distinction from other MCU entries thanks to the cultural references and wicked choreography. Its themes of growth and family also are very welcome and well written. A definite must-see! JACOB While its quality may vary for many, Shang-Chi is wildly different from anything the MCU has done before. It's closer to a martial arts film with a superhero spin than the other way around. The fight sequences are fantastic and easily the highlight of the film, while each performance commits wholesale to the spirit of the story. Simu Liu and Awkwafina carry most of it admirably, but the standout here is Tony Leung. Although it is a bit too long and lacks the deeper exploration of its characters, it remains a refreshing change of pace for Marvel at this stage. AMARÚ Looking back, there was always this feeling one would get when watching a 90s Jackie Chan martial arts film: eyes-wide, constant smile, and intermittent giggles at the perfect combination of great fight choreography and purposeful silliness. With the addition of mesmerizing mysticism, you get Shang-Chi and the Legend of the Ten Rings. Simu Liu is a star, Awkwafina bounces well off him well, and Tony Leung is masterful. A few moments drag and there are some (not great) silly plot points, but those flaws don't dampen this well-crafted movie. QUENTIN Going into Shang-Chi , I was the most unexcited for an MCU movie as I had ever been, mostly due to my unfamiliarity with the character and cast. However, I was pleasantly surprised! It's not flawless, mind you: Awkwafina's character is entirely unnecessary and the film's climax is shot in a dense fog, making it hard to see what is happening. But the fight choreography is the best since The Winter Soldier , while the addition of mystical Chinese influences cover for most of the "Marvel formula" issues. Overall, you've got a solid palette cleanser for the disappointment that was Black Widow .

ADULTHOOD Starring: Josh Gad, Kaya Scodelario, Anthony Carrigan, Billie Lourd, and Alex Winter Director: Alex Winter KATIE Adulthood is an entertaining crime-thriller-comedy with a surprisingly morbid edge. It starts out funny and a little quirky before devolving into something a tad more sinister, but still with enough laughs. Kaya Scodelario and Josh Gad are fantastic in the leading roles; their characters are hilariously reckless and fixated on their goal. This trajectory leads to a delightfully cynical ending for everyone involved. It’s not perfect; it has too many unnecessary elements that don’t contribute to the character development or story, but I laughed out loud, and it took me by surprise more than once. ROBERT From the beginning, Adulthood has a dark tone, but not so dark as to keep you from enjoying the comedic interplay of Kaya Scodelario and Josh Gad. Then things turn sinister, and there is a tectonic shift into a family drama rife with psychological trauma abound. It could be the inclusion of Anthony Carrigan as a murderous weirdo, but the film reminded me of a condensed version of the run of the show Barry in how it flipped its intention. The main characters feel this and end up in completely different places than expected, which keeps it interesting but strange. Expect a rollercoaster. BODE In director Alex Winter’s return to narrative filmmaking, Adulthood finds him channeling his inner Coen by ruminating on familial reconnections and dysfunction through the lens of a darkly comedic neo-noir. Unfortunately, I don’t think its execution is ever quite right. It’s not stylish enough to fulfill its noir-ish ambitions, nor is it ever really acidic or manic enough to overcome an already flawed script. There are moments when it does click, particularly whenever Anthony Carrigan appears. It’s even kinda refreshing to watch Josh Gad play a burnt-out stoner. But overall, Adulthood is as middle-of-the-road as these flicks get.

OH, CANADA Starring: Richard Gere, Jacob Elordi, Uma Thurman, Victoria Hill, Michael Imperioli, Penelope Mitchell, and Kristine Froseth Director: Paul Schrader QUENTIN Despite what other critics and Rotten Tomatoes might have you believe, director Paul Schrader hasn’t made a great movie in years. Sadly, Oh, Canada keeps that streak alive. The weird thing is that there are several things to like here, including a terrific performance from Richard Gere, poetic dialogue, and a great Americana-folk soundtrack, but all those things are squandered by lethargic and muddled storytelling that lacks passion. It wants so hard to be a melancholy treatise on life, death, and the regrets in between, yet it fails to make you care enough about the character to care at all about his remorse. NICK I keep giving modern Paul Schrader films a chance, but it seems his work just isn't for me. In fact, Oh, Canada may just be my least favourite yet. Although it's nice to see Richard Gere back on screen, and he's quite good in the film, Schrader has crafted something fairly boring, and every extra flourish he attempts in order to enhance things falls flat. Whether it's playing with timelines or colours (the black & white shots lack any vibrancy), I found myself waiting for the end, and even that wasn't very satisfying. I think Schrader may have run out of chances. ADRIANO Thank God, Oh, Canada is short because I struggled through this one. Richard Gere and Jacob Elordi are great, but writer/director Paul Schrader's meditation on life and taking into account one's regrets winds up being self-indulgent to the point where the film's thesis gets lost. Schrader’s approach is just too all over the place to even respect the ambition. Not every directorial and writing decision is awful, but the vast majority are a huge miss. On top of that, the ending is laughably bad. Granted, I haven't loved late-stage Schrader, but this is my least favourite from him. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

FLOW Director: Gints Zilbalodis QUENTIN I surely didn’t expect the best film out of Cannes to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. NICK Flow has a lot to say without uttering a single word. This wonderfully animated film follows the journey of Cat and other wildlife as they navigate their way through the flooding of their home. Although there are no human characters, the themes of class, family, and isolation are all prevalent, which leaves a lot of aspects to relate to. Even if you take away that depth, you’re still left with a very cute film about animals (with tons of personality) coming together in the face of disaster. Just like the best animated films, this one is bound to appeal to children and adults alike. ADRIANO Flow is simply adorable, but I kinda wanted a little more. The animation is cute, with some beautifully grand visuals occasionally, and its concept is simple enough, featuring a band of animals trying to survive a flood. Plus, at just under 90 minutes, it never overstays its welcome and I did thankfully find myself constantly drawn towards the increasing action of the plot. However, the climate change themes are overshadowed by the "friends along the way" narrative. That all said, with no dialogue at all, Flow wound up being a very endearing watch. AMARÚ With our inherent obsession with cute animal videos, what is not to love about the one-of-a-kind experience that is Flow ? While it is adorable watching a cat navigate the world’s perils, this masterfully animated feature is so much more than a social media distraction. It’s an absolutely stunning journey that uses themes of empathy, compassion, found family, and the kindness of others to explore the beautifully unforgiving power of nature and the powerfully beautiful resilience of community. Using profound aesthetics from both the natural and mystical world, Flow is sorrowful, heartwarming, magical, and endearing, and it won’t be leaving my thoughts for a long while. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

EMANCIPATION Starring: Will Smith, Ben Foster, and Charmaine Bingwa Director: Antoine Fuqua QUENTIN Emancipation has a bit of an identity crisis on its hands. What starts as an Oscar Bait slavery drama akin to 12 Years a Slave evolves into an action chase movie similar to Mel Gibson’s Apocalypto before eventually giving way to a Civil War movie in the vein of Glory . The mishmash of those tones, not to mention the inconsistent color palette, makes it hard for the viewer to truly settle in. That said, it’s never boring. Will Smith and Ben Foster do nice work, and it’s beautifully shot. The brutality might turn some people off, but there is enough here to make it worth your time. AMARÚ Emancipation ’s story should always be told. It’s a well-written, well-acted, well-scored and well-directed movie. Director Antoine Fuqua’s action doesn’t miss, and his use of tints and colors is especially poignant. That said, as an American Black man whose upbringing included Glory , Roots , and Amistad , there’s always the lingering question of whether I need to watch another slavery movie. I wanted to watch…that’s why you’re reading this review…but after finishing it, the answer is "no, I did not." By all means, watch the film. But if your station in life mirrors mine, then I’ll let you decide if your want outweighs your need. JACOB Its heart is in the right place, but unfortunately, Emancipation doesn’t quite rise to the level of filmmaking it hopes to achieve. Director Antoine Fuqua’s runaway slave thriller does feature a solid (if tepid) Will Smith performance, but the film has little to say about the brutality of slavery or the difficulties involved in escaping it. The film also looks quite bad, with such a desaturated color grade that one would think it was black & white if not for a few warm hues in some margins (not to mention the far too many drone shots). All in all, it’s serviceable, but skippable. ADRIANO I wish I knew what director Antoine Fuqua was trying to accomplish with Emancipation . One moment, the film is a sickening look at slavery; five minutes later, it's an action thriller. Those ideals never mesh together in a cohesive way, so it left me lost as to what the ultimate goal was. I’m not saying the story is never compelling, it just feels fumbled. Despite the film’s distracting color grading, it is admittedly well constructed, and Will Smith is an effective lead; however, I never felt gripped by the events of the story enough to care.

REBEL MOON: PART TWO - THE SCARGIVER Starring: Sofia Boutella, Ed Skrein, Michiel Huisman, Anthony Hopkins, Djimon Hounsou, Doona Bae, and Ray Fisher Director: Zack Snyder CALEB I didn’t think it was possible, but somehow The Scargiver is actually worse than A Child of Fire . It’s an overdramatic, joyless, ugly film about a bunch of farmers fighting in a field. Since the worldbuilding and characterization were so pitiful the first time around, this sequel doesn’t have anything substantial on which to build. Director Zack Snyder attempts to flesh out the characters with a plethora of bothersome flashbacks, but they only succeed in making the universe even more convoluted and tiresome. The Scargiver is a tortuous cacophony of noise that only die-hard Snyder-heads will enjoy. NICK Unlike A Child of Fire , I went into The Scargiver with zero expectations, and even that didn't help. The performances maintain their inadequacy, while the music in particular stands out as even worse than last time. Everything feels like a misfire. I mean, it's honestly impressive Zack Snyder has managed to craft this expansive world across two films without a single interesting character. I hope for his sake that Snyder can see this for the failure it is and move on to something else. Forget about the R-rated versions. I'm sure they’re at least a slight improvement, but I’m not watching them. Just let this die.

ALIEN: ROMULUS Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu Director: Fede Alvarez NICK Director Fede Alvarez has a knack for taking tired franchises and rejuvenating them for a new audience, and that's exactly what he accomplishes with Alien: Romulus . He has crafted a film that instantly immerses you thanks to some brilliant visuals and smart directorial choices, aspects that are only enhanced by the solid cast filled with up-and-comers (highlighted by a terrific performance from David Jonsson). The tension is palpable, the story is inventive, and the Xenomorph is never overexposed. Romulus isn't just a worthy successor to the Alien brand, it's among its best entries. ADRIANO In many ways, Alien: Romulus is a dream come true for this Alien fan. Combining the tension-filled eeriness of Ridley Scott's Alien and the contained action of James Cameron's Aliens , Romulus is an atmospheric action-horror film that is both successfully creepy and badass. Cailee Spaeny certainly is one hell of a heroine, but David Jonsson is the heartwarming standout. The film retreads its predecessors maybe a bit too much for my liking, and some of the fan-service references annoyed me, but overall, especially with the bonkers finale, I had a blast with this film. QUENTIN Considering Romulus takes place between Alien and Aliens , it makes sense that it seamlessly combines and transitions from the slow-burn horror of the former (the first hour) to the tense action of the latter (the second hour). Plus, it’s tremendously directed, with Fede Alvarez making great use of light and shadows to build dread while capturing some truly iconic shots that call back to the originals. And speaking of…the Easter Eggs are plentiful for Xenomorph stans without feeling too forced, which is nice. This is easily the best franchise offering since 1986, and if you only watched Alien , Romulus , and Aliens , you’d have an excellent trilogy. AMARÚ Fede Alvarez directed the hell out of Alien: Romulus , utilizing light, shadow, and great sound design to create momentous tension without relying on it. Instead, it enhances a plot, which much like the first two Alien films, is mightily propelled by the main group’s relationship with a synthetic, played phenomenally by David Jonsson. The relationship between Andy (Jonsson) and Cailee Speany’s Rain endears us to the story and the rest of the crew, and while Alvarez’s third act takes big horror swings that may not work for everyone, the captivating balance of thrills, character, sound, and visuals creates a solid addition to the franchise. PAIGE Despite the fact that Alien: Romulus may not bring anything new to the franchise, director Fede Alvarez successfully evokes the ascents and terror of 1979's Alien while also including numerous callbacks to other films in the series. Though there isn't much tension in the movie, David Jonsson's dad jokes and Cailee Spaeny's performance offer just the right amount of emotional impact to keep viewers interested. Plus, it’s packed with beautiful visuals, stellar practical effects, and a fantastic sound design. I just wish it established its own identity instead of feeling like a love letter to the franchise. KATIE Alien: Romulus executes its simple but impactful premise with grippingly gruesome precision, bringing new blood to the franchise whilst honouring its predecessors. Plus, David Jonsson and Cailee Spaeny are just fantastic in the lead roles, standing out amongst the rest of the cast. Jonsson’s impressive performance ranges from unsettling to endearing, and Spaeny solidifies her rising stardom. There are plenty of callbacks to the previous films that don’t totally make sense, but they’re subtle enough to not break the immersion too much. Overall, Romulus is totally predictable but far from boring, brimming with atmosphere, action-packed set pieces, and impressively gory effects. PRESTON I have a confession to make…I haven’t been the biggest fan of the Alien movies. I liked that Warrant Officers got a well-deserved nod, but that is about as far as my appreciation goes. But this latest Alien (tribute) film is, surprisingly, my favorite so far. There were a lot of Easter Eggs lost on me, but the updated technological production elements, visual effects, and storyline are a much-needed improvement from past films. Plus, David Jonsson (Andy) provides a lovely, nuanced performance with a character whose development arc is the highlight of the film.

THRASH Starring: Phoebe Dynevor, Whitney Peak, Alyla Browne, Stacy Clausen, Dante Ubaldi, Sami Afuni, Tyler Coppin, Chai Hansen, and Djimon Hounsou Director: Tommy Wirkola NICK Thrash is dumb fun without any of the fun. As someone who has seen their fair share of shark films, I can't recall one with so little... bite. The shark sequences create no real fear or tension, which leaves them often feeling inconsequential to the story. It doesn't help that their prey is a bunch of flat, undeveloped characters. An opening Hurricane scene is entertaining, but somehow writer/director Tommy Wirkola failed to maintain that entertainment once he integrated sharks into the flooded town. You’d think it would be the opposite. ROBERT Thrash won’t be able to escape the comparisons with Crawl , no matter how hard it swims against that current. That is unfortunate because, unlike Crawl , this movie doesn’t grab and hold the tension and danger of the ongoing situation, especially during the shark attacks. People are bitten and must escape, and it doesn’t seem like it matters all that much, which speaks to the bad performances. Also, even in a hyper-realistic situation, there are nonsensical decisions made throughout to keep the plot moving, making a dumb movie appear dumber. Much like how the characters had to trudge through flooded streets, this was a slog. KATIE Thrash could have been entertaining if it focused on delivering bloody B-movie thrills, but instead, it's unfocused and lacks momentum. The extreme weather is a more imposing and interesting threat than the sharks, which ironically lack any real bite. There’s no sense of tension, and the shark attacks are underwhelming, especially since they’re seen so frequently. The set pieces also disappointingly lack any excitement, and it follows multiple stories, all of which feel underdeveloped and distract from one another. It sometimes leans into its ridiculous premise enough to be funny, but ultimately fails to deliver. BODE I don’t ask for much when it comes to creature features. As long as you deliver the mayhem that’s inherent with that genre in a fun manner, I’m satisfied. But with Thrash , writer-director Tommy Wirkola delivers a sharksploitation picture that’s severely lacking in fun, mayhem, and most importantly, sharks. What’s worse is that it spends much of its 86-minute runtime jumping between multiple (frankly, underdeveloped) survival arcs that bafflingly never intersect, which drains the film of whatever momentum it could’ve mustered. With the right execution, Thrash could’ve been the next Crawl . Instead, it sinks like a stone.