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MOTHERS' INSTINCT Starring: Jessica Chastain, Anne Hathaway, Anders Danielsen Lie, Josh Charles, Eamon O'Connell, Caroline Lagerfelt, and Baylen D. Bielitz Director: Benoît Delhomme KATIE I love Anne Hathaway nearly as much as I love a good old-fashioned melodrama, so I had a great time with Mothers’ Instinct. This operatic, Hitchcockian psychological thriller plays out against the backdrop of The Feminine Mystique -inspired tension, complete with immaculate set design and costuming of artificially perfect 1960s suburbia and amazing lead performances from Jessica Chastain and Hathaway. Whilst the film is heavy-handed and doesn’t meaningfully explore its themes of grief or the pressures of the housewives’ lives, it is full of tension and is deliciously overbaked. I’d recommend it to anyone looking for a stylish, suspenseful drama. QUENTIN Despite Anne Hathaway and Jessica Chastain doing everything they can to will a great movie out of Mothers’ Instinct , not to mention the wonderful 60s-era production design, this Hitchcockian thriller suffers from an identity crisis. It’s so self-serious that it fails to embrace the campier elements, yet it’s too campy to take any of the darker moments all that seriously. This results in a movie that flails between somewhat cheesy Lifetime-style melodrama and Revolutionary Road -ish weightiness. That said, flawed as it may be, there are worse things to watch than two terrific and impeccably dressed actresses go head-to-head in a battle of paranoia and psychological warfare. PRESTON Mothers’ Instinct takes advantage of the 1960s setting (especially with the fantastic production design) of a stereotypical suburban lifestyle to mask the eventual outcome and advance the building tension. It is a back-and-forth psychological thriller that makes you wonder who the real antagonist is, and it takes its time in developing complexity in the characters. Anne Hathaway (Celine) and Jessica Chastain (Alice) are both captivating talents that are an absolute pleasure to watch, but the primary deficiency is an ending that feels a little rushed compared to the deliberate build-up to an otherwise enjoyable, but dark story.

CAN I GET A WITNESS? Starring: Keira Jang, Joel Oulette, and Sandra Oh Director: Ann Marie Fleming NICK I’m not being hyperbolic when I say the concept of Can I Get a Witness? is excellent. A live-action animated hybrid about a world devoid of electricity, where people are only allowed to live until the age of 50, is fascinating. Unfortunately, the film completely wastes that concept by delivering a meandering plot without anything interesting to say until halfway through the film, at which point I'd already checked out. Even the animation is sorely underused, making me question the decision to include it. An idea this cool shouldn’t lead to a film so boring. It was easily one of my bigger disappointments of TIFF 2024. KATIE Can I Get a Witness presents some interesting ideas, but didn’t quite work for me. It explores a post-climate-disaster world where people must take their own lives at age 50, and how this impacts a mother and daughter, but I couldn’t get on board with the idea that average people are the ones who must make huge sacrifices to preserve the environment. There are hand-drawn looking animations that are lovely, but don’t add anything, and by the time it had explained the ins and outs of the dystopian society, it had lost my interest, before ending quite suddenly. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

EVERY HEAVY THING Starring: Josh Fadem, James Urbaniak, Tipper Newton, Vera Drew, John Ennis, Kaylene Snarsky, and Barbara Crampton Director: Mickey Reece This film has been reviewed by Nick and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. BODE I’ll admit that before jumping into director Mickey Reese’s latest film Every Heavy Thing , while I knew of his reputation in the indie circuit, I hadn’t seen any of his previous work. I can honestly say that this made me curious. Reece takes the cat-and-mouse serial killer thriller and turns it on its head, using surrealist imagery and dry humour to explore themes of gendered violence, big tech, shame, and repression. It can get a bit lost (especially in the third act), but its strangeness is so compelling that I can’t help but respect it. Also, support your local alt-weekly! NICK Because Fantasia is a genre festival, there's always some surreal entries with unique and ambitious editing techniques. In the case of director Mickey Reese's Every Heavy Thing , he uses VHS videotape sheen and glitch art to tell the story of a man, Joe (Josh Fadem), confronted by a local serial killer. Although it doesn't get off to a strong start, as Joe becomes increasingly tormented, I became more engaged. It falls off again in its closing, as it stumbles towards an end. That said, the darkness in the visuals and comedy works, I just wish the film was bookended better.

LOCKED Starring: Bill Skarsgård and Anthony Hopkins Director: David Yarovesky NICK As far as under-the-radar releases go, I quite enjoyed Locked . Starring Bill Skarsgård and Anthony Hopkins, this remake of the Argentinian film 4x4 is a fun thrill-ride that's just the right amount of ridiculous. The co-leads are entertaining (it's nice to see Skarsgård without prosthetics) and there are no real lulls in the cat-and-mouse game. Unfortunately, any attempts at emotional moments don't really land, which dampens the stakes a little; however, the short runtime and deliberate pacing help mask that issue. As for entertainment value, though, I have no complaints here. KATIE Locked presents a basic concept that's pulled off well, driven by the entertaining performances of co-leads Bill Skarsgård and Anthony Hopkins. Although their characters are barely developed and I didn't care about their emotional backstories, I still had fun. The tense action is great, as is Hopkins’s delightfully sinister voice-over, but his morals are completely nonsensical, and a couple of his monologues verge on being tedious. I would have actually preferred if it disregarded character development and reasoning, focusing entirely on the cheap thrills and their compelling dynamic. AMARÚ Watching Locked , I couldn’t help but think about the epic Joel Schumacher thriller Phone Booth . Director David Yarovesky tries to set up a gritty opening similar to Schumacher’s introduction of Colin Farrell’s slimy Stu, but unlike the captivatingly tense relationship established between Stu and his captor (Kiefer Sutherland), I was unmoved by Bill Skarsgård’s sad sack Eddie, constantly annoyed by Anthony Hopkins running back his Transformers: The Last Knight brand of crazy, and bored by this slowly placed 90ish-minute movie. Wrap all this in multiple pompous lectures of society’s ills, and you get a pale imitation of the 2002 thrill-ride. QUENTIN In what feels like an unofficial and loose remake of Phone Booth , Locked serves up enough tension, social commentary, and “what would you do?” questions to make for an entertaining 90 minutes. Bill Skarsgård, who previously has created iconic villains under mountains of makeup (Nosferatu, Pennywise), is finally given a role where his unfiltered talent must do the heavy lifting, mostly succeeding in the process. As for Anthony Hopkins as the voice? He sounds disengaged, like director David Yarovesky had him record his lines while killing time at the airport (he’s no Kiefer Sutherland is all I’m saying). Still, Locked is better than it should be. PAIGE Despite Bill Skarsgård’s dedicated performance, David Yarovesky's Locked never made me strap in for the ride since it’s nothing we haven’t seen before. This is a straightforward and contained thriller that aims and fails to be pulse-pounding, offering neither tension nor thrills. To tell the truth, I found the plot to be increasingly monotonous and exhausting as the film went on. If a movie is going to beat its audience over the head with themes of class and structure, it either needs to have a clever script or entertain us. This movie doesn't do either one.

SALTBURN Starring: Barry Keoghan, Jacob Elordi, Rosamund Pike, Richard E. Grant, Alison Oliver, Archie Madekwe, and Carey Mulligan Director: Emerald Fennell PAIGE Although Saltburn isn’t as polarizing as Emerald Fennell’s previous film, Promising Young Woman , since its themes don’t stick the landing as strongly as in its predecessor, it’s still a dazzling film. It’s immaculately shot, horny as hell, and filled with spicy dialogue that allows the film’s cast to shine throughout, especially Barry Keoghan, who delivers one of the best performances of the year. It’s a memorable eat-the-rich film like The Talented Mr. Ripley and Ingrid Goes West that will have you licking your plate, yearning for more. QUENTIN Saltburn , writer-director Emerald Fennell’s follow-up to the excellent Promising Young Woman (her feature directorial debut, for which she won Best Original Screenplay), ultimately feels like the result of a filmmaker being given creative control too soon after a breakout. Despite outstanding performances, beautifully shot scenes, and a tremendously engaging setup, the second half simply has too much going on. It’s overstuffed, rushed, and underdeveloped. It’s still very good, mind you, and Fennell is an amazing talent; however, it may have been better as a miniseries in order to flesh out the back end a bit more. Or maybe Fennell just needed someone to give her some honest notes to rein it in a bit. PRESTON Saltburn is a dark, partially sadomasochistic work that makes one wonder if the grass is truly greener on the other side of our perceived social hierarchy. Director Emerald Fennell plays with her audience regarding typical character assumptions and delivers her message of trust, desire, and greed quite cleverly. Barry Keoghan and Jacob Elordi turn in masterful performances, and the visuals are stunning in this Gothic thriller that had me watching out of one eye due to some particularly disturbing scenes that really drive home the thematic messaging while also making me question, “was that really necessary?” AMARÚ Even with Barry Keoghan’s magnetism and Jacob Elordi’s charm, writer/director Emerald Fennell is somehow the star of Saltburn . Her energetic direction and indulgent script keep you fixated on what’s gonna happen next, even when you’re not fully satisfied with the result. There’s nothing inherently wrong with the film, but there isn’t anything extravagant either (no matter how much the story’s decadence tries to get you there). The cast is mesmerizing, the plot is engrossing, and the direction is entrancing, yet, when the sum of these parts reach an ending, you are ultimately left wanting. ADRIANO Saltburn is a film I loved for the vibes alone, but there’s something about its flaws that isn’t sitting well with me. Writer/director Emerald Fennell's sophomore feature sees her direction improve greatly, with the film's craft and tone so precise and so impressive. Linus Sandgren's cinematography specifically made me think, "how is this possible?" Sadly though, the film's reliance on shock value is apparent, and it becomes less justified once the big twist is revealed…a twist that left me with more questions than answers. While I quite enjoyed Saltburn , it is a step down from Promising Young Woman . This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Zurich Film Festival.

MARMALADE Starring: Joe Keery, Camila Morrone, and Aldis Hodge Director: Keir O’Donnell PAIGE With a quirky and twisted storyline reminiscent of Bonnie and Clyde , Marmalade is undoubtedly a wild and entertaining journey throughout its entire runtime. It’s a bizarre yet eccentric heist tale from first-time writer/director Keir O'Donnell, who seems to be having a blast bringing this story to life. Plus, the flick is filled with unconventional performances from Joe Keery and Camila Morrone, which allows their talent to radiate off the screen. These over-the-top characters are what make this movie worth watching. AMARÚ Keir O’Donnell clearly had a blast writing his directorial debut Marmalade , as made evident by how committed Joe Keery, Camila Morrone, and Aldis Hodge are in their hyper-stylized roles. It’s their performances that keep you locked into this entertaining yet run-of-the-mill romp. Combining the over-the-top characters with frenetic camera work and energetic pacing prevents the surface-level character development and story beats from losing your interest for too long (though the second act comes close). Cutting about 10 minutes off its 99-minute runtime might have helped, but Marmalade is still a cool little watch. KATIE Keir O'Donnell’s directorial debut, Marmalade , is a colourfully vibrant and unapologetically fun thriller featuring fittingly extravagant performances from its dedicated cast. Despite some uneven pacing, the film eventually redeems itself enough to rescue my waning interest, which was a tad frustrating since it felt like it was treading water up to that point, wasting its potential. Although it won’t leave a significant impact, overall, this is a genuinely surprising and entertaining little thriller with a compelling plot and engaging characters.

WHAT JOSIAH SAW Starring: Robert Patrick, Nick Stahl, Scott Haze, Kelli Garner, Jake Weber, and Tony Hale Director: Vincent Grashaw QUENTIN Based on the performances and atmosphere alone, What Josiah Saw is decent southern gothic horror. It’s probably even better if you know what to expect going in (which I did not). Namely, that the story structure is practically an anthology. If you don’t know that from the start, everything feels random and unconnected. The first act, which plays like Frailty , gives way to a second act that is reminiscent of Pulp Fiction , which gives way to a third act that’s kinda sorta like American Beauty . It’s very jarring. That said, everything eventually ties together in a mostly satisfying way that is brutal, tense, and deviant. JOSEPH What Josiah Saw has all the moodiness and talent to deliver an engrossing story about familial secrets and horrors of the past, but this southern gothic tale failed to deliver on nearly every aspect, especially with regards to the story. Every time I thought the film was going somewhere, I was mistaken, and whatever point the film was trying to make did not register with me at all. Despite a promising premise, a halfway decent finale, and some beautiful cinematography, the final scene only cemented my distaste for this film that barely managed to keep me interested.

CAUGHT STEALING Starring: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, and Carol Kane Director: Darren Aronofsky ADRIANO I don't know what happened to Darren Aronofsky, but this is not the guy who directed Requiem for a Dream . With Caught Stealing , Aronofsky ditches his typical dourness for a wild crime comedy akin to After Hours . I wish the story wasn't as messy as it is and that it didn't try to juggle so much, but the camera and sound work give this a unique kind of energy. Meanwhile, Austin Butler shows a new and interesting side to his leading-man abilities. Caught Stealing kept me on my toes for the most part, and that's the mark of any good thriller. AMARÚ Caught Stealing is a quick and dirty chaos cluster. It's quick with energetic pacing, not in its slightly overwrought runtime, but in the tenor and editing that paints the film as director Darren Aronofsky’s version of a Guy Ritchie crime caper. While Ritchie’s romps are fun and rewatchable, Aronofsky’s dark overtones rapidly turn the string of unfortunate events that intertwine the multitude of players surrounding Austin Butler’s Hank into a hard look into the mistakes people try to outrun. So, while the largely talented ensemble is great to watch, the story’s harsh realities make its 107 minutes play like a harrowing, yet entertaining, one-time 2+ hour watch. PAIGE Caught Stealing certainly feels like a throwback to 90s crime thrillers, in that it's occasionally gripping and fun but oddly lacking in stakes. This movie is director Darren Aronofsky’s most accessible and conventional to date, but it’s weightless and uneven, at its best when it drops both the audience and Austin Butler’s (who is great in this, delivering my favorite performance of his yet) character into a tangled web of screwball characters. Overall, Aronofsky’s film delivers when it comes to the entertainment factor, but falls short of having a compelling script. ROBERT The main focus on Caught Stealing is how unlike a typical Darren Aronofsky movie it is; however, while the packaging is different, the heart of it still resembles the core experience: chaos, turmoil, and a sense that everyone’s lives have reached their lowest point. Plus, setting it as a late 1990s caper creates a rich environment of nostalgia without it feeling out-of-time. I have never been an Austin Butler fan, but this film showcases a vulnerability and every man quality that I wasn’t aware was in his arsenal. The cast, while underutilized on occasion, shaded a very colorful world worth exploring. QUENTIN Caught Stealing , easily director Darren Aronofsky’s most fun film, is a shaggy dog crime thriller that falls in line with True Romance , Inherent Vice , and (to a lesser extent) The Big Lebowski . Austin Butler and the sprawling supporting cast do excellent work, and their performances are only enhanced by Aronofsky’s proven eye and high-energy editing. Admittedly, the broad brushes of the story are predictable, but there are smaller, almost superficial twists that are unexpected, which helps to keep viewers on their toes amidst the bloody violence, exciting action, and effective drama. Overall, this is just a damn good time, rooted in rowdy griminess and punk-rock swagger. BODE It seemed shocking that the Guy Ritchie-esque crime caper Caught Stealing would come from Darren Aronofsky, a very different kind of filmmaker. However, looks can be deceiving, and what should be as fun as one of Ritchie’s romps is anything but. Unfortunately, it's never convincingly fun, and the energy is almost non-existent. And since Aronofsky can’t fully escape his dour tendencies, its heavier moments only create tonal whiplash. Austin Butler carries the material as best he can, and the score from composers Rob Simonsen and Idles is a highlight, but otherwise, this is a poor man’s After Hours . KATIE Caught Stealing is an unexpectedly fun crime-thriller that doesn’t pull its punches. It’s exciting, darkly comedic, and full of dynamic camerawork, with a grungy 90s setting that adds a nostalgic vibe. It has a fantastic cast, especially a magnetic central performance from Austin Butler, whose star power shines. However, although it's fast-paced and entertaining, the plot is initially too busy, and later skims over some events a little too quickly without addressing them. I also found some of the violence a little too gratuitous. But, overall, Caught Stealing is easy-to-enjoy entertainment.

THE AMATEUR Starring: Rami Malek, Rachel Brosnahan, Holt McCallany, Laurence Fishburne, Caitríona Balfe, Jon Bernthal, and Michael Stuhlbarg Director: James Hawes NICK Despite leading roles in Mr. Robot and Bohemian Rhapsody , it feels like Hollywood doesn't know how to utilize Rami Malek. But maybe they finally nailed it with The Amateur , as my biggest takeaway was how well he fit the role of Charlie Heller. Besides that, it's another run-of-the-mill revenge story that wants to stand alongside the Bourne series, but is unfortunately missing the urgency needed to do so. Heller's intended opposition never feels formidable, which waters down the film and allows for lulls. It’s not bad, and I hope to see more of this from Malek, but it all feels a little amateur. No pun intended. ADRIANO The Amateur is a movie that plays out in the ways you would expect, and even with that, it is entertaining but not much else. It mostly works because the quirks of the protagonist play perfectly into Rami Malek's sensibilities as an actor, so he gives the movie a lot to work with. But the film is just so obvious. There is earned tension from the man-using-his-brain-instead-of-his-brawn concept, but everything you think will happen, does happen. The way-too-dark colour grade only adds to its ultimate forgettableness. BODE When I saw The Amateur on a Friday evening, my screening was surprisingly full. For essentially an old-school spy thriller that could’ve been turned into a limited series today, that was nice to witness. If only the film were more fun, and given how simple and ludicrous the plot is, it really should have been. It’s certainly watchable, thanks in part to a cast filled with reliable character actors, but ultimately shrug-worthy. Still, I’m glad it exists, if for nothing else than clear proof that the audience who yearns to see these kinds of films theatrically lives on. AMARÚ I hate to say it, but I just don’t believe Rami Malek as the relationship guy, even in an opposites-attract relationship like they set up in The Amateur . However, I do believe him as the intelligence guy. So watching him puzzle his way through a pretty intriguing revenge plot helped mask some of the more unbelievable scenes with usually believable actors (that was laid on too thick, Holt McCallany). Laurence Fishburne, Jon Bernthal, and Michael Stuhlbarg, however, are always believable, and solidified my attention throughout this weirdly paced, yet oddly entertaining film… if you can believe that.

ON SWIFT HORSES Starring: Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, and Sasha Calle Director: Daniel Minahan ADRIANO I couldn't have left the theatre faster once On Swift Horses ended. A truly dreadful experience, it may bring up some interesting ideas on sexuality and impulse, but it winds up being dull and shallow, evaporating any intrigue it ever presented. The cast is... decent. Jacob Elordi is clearly the best-in-show, but it gets so lost in itself and so visually ugly that I struggled to fully grasp what the central point of everything was. Some moments felt like they existed only to amp up the drama, but it ended up making me feel nothing. KATIE On Swift Horses tries to tell too many stories for its own good, presenting some compelling ideas around the glossy American dream juxtaposed with the pressure to conform through oddly convoluted and interweaving narratives that don’t allow it to dig beyond the surface. As such, characters all feel slightly underdeveloped, especially the relationship between Julius (Jacob Elordi) and Muriel (Daisy Edgar-Jones) that the film is essentially built around, which wastes the talents of a stellar cast. Although the 1950s aesthetics are gorgeous and it's shot beautifully, On Swift Horses is a bland and forgettable drama. PAIGE On Swift Horses is a slow burn that does not leave me yearning for love. To be quite honest, it depicts one of the weakest love stories I’ve ever witnessed on screen. Despite decent performances from Jacob Elordi and Daisy Edgar-Jones, the supporting cast (Sasha Calle, Diego Calva, and Will Poulter) are completely underused. The script attempts to deliver a messy and unconventional take on longing for romance, but it falls flat due to the dull screenplay. Its story presents what should have been a hot and heavy whirlwind tale of love and desire, but ends up being a shallow and underwritten story that doesn’t dive deep enough into its themes. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE LINE Starring: Alex Wolff, Austin Abrams, Bo Mitchell, Halle Bailey, Lewis Pullman, Angus Cloud, Scoot McNairy, and John Malkovich Director: Ethan Berger KATIE The Line is a tense, darkly funny thriller exploring the toxicity and violence that plagues fraternity culture. Alex Wolff is incredible in the lead role, driving the suspense that assured me something horrible was waiting around the corner. Halle Bailey’s character is compelling but underdeveloped, and I was relieved she was kept at a safe distance from the dangerous toxicity of the frat house. The film reveals how these men perform “masculinity” exclusively for other men in a way that is undeniably homoerotic (whilst screaming homophobic slurs), and the ending shows how these issues will continue to be perpetuated by those it victimises. PRESTON The most interesting components of The Line are the power dynamics within the fraternity itself and the unfair privilege of the wealthy. The toxic masculinity commentary is sure to resonate with some, but is also a bit tiresome with the random presence of Halle Bailey adding little to the primary plot, only serving to hammer home the portrayal that all fraternity members are chauvinistic, racist degenerates. Still, Alex Wolff and Austin Abrams are fantastic. It's an entertaining watch, even if predictable, that will probably be even more so for someone less cynical. QUENTIN I’m sure for some people, The Line is a terrific movie that gives new insight into toxic masculinity and the rich-boy fraternity lifestyle. However, I found all these characters to be so damn annoying (Mitch (Bo Mitchell), especially) that I didn’t enjoy spending any time with them, whatsoever. Maybe that’s the point, but even Tom (Alex Wolff), the reflective protagonist who slowly understands Greek Life isn’t all it’s cracked up to be, is an unlikable douchebro. On top of that, the story goes exactly where you’d expect it to, so there are no surprises. This dark spin on Animal House , colored with Whiplash , just wasn’t for me. PAIGE The Line is an unfiltered look at toxic fraternity culture that, despite its lack of subtlety and originality, is nevertheless a gripping drama. Although the film should have explored some of the aspects it touches on more thoroughly, Ethan Berger makes a strong directorial debut. He has assembled a solid ensemble, giving Alex Wolff the opportunity to really shine and show his range. Overall, The Line offers a convincing glimpse at frat life, even though it might not bring anything new to the table.

SNOW WHITE Starring: Rachel Zegler, Gal Gadot, Andrew Burnap, and Ansu Kabia Director: Mark Webb NICK Going into Snow White , a big question on everyone's mind was how the seven dwarves would work. Well, believe it or not, they're the best part of this thing; funny, charming, and heartfelt. Does that mean the film is good? No, because whenever momentum gathers, Gal Gadot's Evil Queen returns to the screen. Her performance in this is so genuinely awful that it made me feel bad for enjoying earlier parts of the film. There are other supplemental pros and cons of the film, but it would be hard for anything to overcome what is just an all-time bad performance from Gadot. ADRIANO I'm tired of Disney live-action remakes, but I suppose I should be fair and say Snow White is bad, but not awful. It actually feels like it had a purpose to its adaptation beyond hoping audiences will clap at the stuff they remember, and the film is carried by the incredible star-power of Rachel Zegler. Gal Gadot's performance, on the other hand, ruins the momentum of all Zegler’s scenes. The film is visually flat, the CGI is bad, and it meanders much longer than it should. So, while it’s pretty bad, Snow White stands out as one of the less terrible entries of these terrible remakes. AMARÚ You can talk all day about acting, but no performance can help a bad concept that takes the classic Snow White and regurgitates it with uninspired direction, indiscernible editing, uncanny CGI, and worst of all, an unintelligible script. The woeful writing exacerbates Gal Gadot’s cringeworthy performance while aggressively attempting but ultimately failing to dampen Rachel Zegler’s star power. It also highlights Andrew Burnap’s valiant, yet unsuccessful, effort to break through all the crap. Even with its small flashes of competency, Snow White is a clear example of how this live-action remake crashes and burns without actual thought and care as to why it exists. BRYAN Far from being the worst of the Disney remakes, Snow White still doesn't capture the magic that the multi billion-dollar corporation once strived for. Rachel Zegler pours her heart and soul into bringing the titular character to life, while everything else surrounding her doesn’t do any favors. The cheap visuals, the unmemorable songs and the monumentally embarrassing Gal Gadot turn are a few of the things that make this fail to meet its potential. I know there’s a promising film to be found here, yet we received a rotten apple from the Mouse House once more.