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ROOFMAN Starring: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Uzo Aduba, Lily Collias, Dee Wainscott, and Peter Dinklage Director: Derek Cianfrance NICK There’s no doubt that Roofman is the strongest performance of Channing Tatum’s career. In fact, this is likely the mold for his ideal leading-man role. There’s comedy, romance, goofiness, a hint of toughness, and tons of heart. Think Tom Hanks in the 90s but more of a badass. A lesser performance would’ve made Jeffrey Manchester (Tatum) hard to root for, but with the heart Tatum infuses into this real life story, you can’t help but want to see him succeed in some way. Add in solid supporting performances (Kirsten Dunst, Peter Dinklage), and this film ends up better than it has any right to be. ADRIANO Based on the trailer for Roofman , I was afraid director/co-writer Derek Cianfrance was gonna ditch his knack for emotionally driven character stories for a more studio-driven comedy. While the film doesn't shy away from the absurdity of this true story, mainly due in part to Channing Tatum's charming goofiness, what grabbed me the hardest about Roofman was Cianfrance's writing that mixes weirdness with true humanity. Even when it leans into the "criminal with a heart of gold" idea, the empathy it decides to focus on in regards to Jeffrey Manchester (Tatum) leads to effective emotional beats. AMARÚ Roofman epitomizes what it means to be solid. It harkens back to the ‘90s classics of my childhood that were no flash, fully grounded, endearing stories with substantial performances. I can’t say I’ve ever been more attuned to a non-sci-fi Kirsten Dunst role, but I can say that this is arguably Channing Tatum’s best work. Whether you agree will come down to your comedy or drama preference, but either way, he succeeds in making me root for a character who deserved no such appraisal. He humanizes the good, bad, and ugly of his real-life counterpart, and both actors are a huge reason Roofman is undeniably rewatchable. QUENTIN Roofman is a charming love story featuring charming performances that surely will charm a non-discerning couple on date night. No, it’s not particularly memorable, but it’s a highly rewatchable blend of comedy, heart, and 90s nostalgia. Yet, I was left wondering why I was rooting for this dirtbag. Because he’s polite? All of Jeffrey Manchester’s (Channing Tatum) rough edges have been sanded down to create an almost algorithm-generated leading man that ladies may fawn over. That’s fine, I suppose, but it makes for an overly sugarcoated, crowd-pleasing movie seemingly afraid to explore the more complicated themes present in fear of losing general audiences (and box office revenue). PAIGE Derek Cianfrance’s Roofman is a surprisingly endearing ride that takes a bizarre true story and turns it into a funny, heartwarming, yet somewhat sad tale. Channing Tatum delivers some of his best work too, demonstrating a great chemistry with Kirsten Dunst. Overall, there really is a lot to truly enjoy, whether it’s the crime elements, the outlandish comedy, or the lighthearted family affair. However, with everything crammed into its plot, the movie does spread itself a bit too thin. As the film goes on, you can feel it lose momentum during the periods when not much happens. BODE I’ve long found Derek Cianfrance to be an underrated filmmaker, as he has an innate ability to infuse the most tragic stories with open-hearted empathy without ever being manipulative. Roofman keeps to that very standard, even while changing gears creatively, as this is, refreshingly, much lighter than his previous projects. Cianfrance tackles the numerous contradictions of its real-life subject with a mostly successful balance of humour and melancholy, one that plays to Channing Tatum’s strengths as a performer, both internally and physically. Add in some solid chemistry with Kirsten Dunst (always great), and you’ve got a low-key charmer. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

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.

ETERNALS Starring: Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Barry Keoghan, Kit Harington, Salma Hayek, Angelina Jolie, Lauren Ridloff, Don Lee, and Harish Patel Director: Chloé Zhao ADRIANO Eternals isn't a bad movie, but it is a messy one. The script is extremely exposition heavy, and the way it jumps between different time periods can be jarring. There also are numerous moments that could've been cut to make the movie shorter, and director Chloé Zhao's style doesn't really mesh with the MCU. On the plus side, the diverse cast is incredibly strong, especially Gemma Chan and Kumail Nanjiani. Overall, the film makes a clear attempt to escape typical MCU trappings, which is a fantastic step forward, but it's still flawed. It's worth watching to see for yourself. NICK The MCU has become a cinematic juggernaut partly due to the overarching story and distinctive style threading its 25 films (and several shows). The latest entry, Eternals , breaks that mold to the point it barely resembles an MCU entry. This is 100% a Chloé Zhao film, which doesn't work for the most part. The sceneries are vast and the action sequences are fantastic, but they're few and far between. As for the characters, they lack intrigue, while the dialogue contains enough exposition to make Dune blush. Phase 4 has some work to do to reach the heights of its predecessors. AMARÚ Eternals looks beautiful and dreams big. Hopeful themes about humanity run rampant throughout director Chloé Zhao's grand aesthetics and the characters' open-hearted view of Earth (Brian Tyree Henry, Don Lee, and a subtle Angelina Jolie are standouts). Big philosophical swings about life's grand schemes work well, especially when they pit the heroes' beliefs against one another. However, that leads to some cliché one-liners and all-too-convenient plot points, which are saved only by the charming innocence displayed by such powerful beings. Great chemistry helps to elevate the telegraphed exposition, making Eternals a slightly better than average, yet highly rewatchable, MCU addition. JACOB Many things will be said of Marvel's Eternals , but expect none of them to be overtly positive out of the gate. The film is decent... and it looks great in certain scenes... but its emotional tones are often uneven and its pacing is far too outstretched. That said, I did appreciate how different the film felt from typical MCU fare, as it rarely references the other films and stays most concerned with the story it's telling rather than the ones around it. Chloé Zhao’s directorial style fades in and out, but there is enough to enjoy, even on a surface level. QUENTIN Eternals isn't outright terrible, but it's certainly terrible by MCU standards. Aside from a few camera shots that are pure art and two anticipation-generating post-credit scenes, there is very little to rave about. The cast seems mostly uninterested in being involved (Angelina Jolie and Salma Hayek genuinely feel like stunt casting), and there is almost zero on-screen chemistry amongst the ensemble. On top of that, the CGI is periodically shoddy, the characters are dull, and it's generally boring - just... So. Much. Exposition. I appreciate Marvel's effort to expand outside their proven formula, but Eternals is a huge swing and miss.

HIGHEST 2 LOWEST Starring: Denzel Washington, Jeffrey Wright, Ilfenesh Hadera, Aubrey Joseph, Elijah Wright, Michael Potts, Frederick Weller, Dean Winters, LaChanze, John Douglas Thompson, and A$AP Rocky aka Rakim Mayers Director: Spike Lee NICK It’s been a while since I’ve enjoyed a Spike Lee film as much as Highest 2 Lowest ; that’s not a knock on the director’s filmography, but more of a testament to just how good this is. Lee is firing on all cylinders, infusing the film with music, culture, and a strong commentary on power and persona. The performances match as well, with Denzel Washington giving a dynamic lead performance, Jeffrey Wright being as steady as always, and even A$AP Rocky surprising. Lee even made the unconventional orchestral score somehow work. Apple needs to improve its marketing because this is one of the best films of the year so far. AMARÚ Highest 2 Lowest is an operatic New York City love letter headlined by two of our best living actors, Denzel Washington and Jeffrey Wright, who do what they do best. Where my uncertainty takes hold all comes down to director Spike Lee’s style. It’s big, powerful, musical, and Black as hell. But it also plays like a play, with outward performances keeping you at arms length, barring the audience from truly living inside the story. I like the film, and I’m there opening weekend for the next Spike Lee Joint, but I also know I often have to learn to like Spike’s swings. ADRIANO It may come as a shock to you, but there is a new Spike Lee Joint out right now… and in its first hour, Highest 2 Lowest worried me. The score was atrocious, the staging was terrible, and the editing was awkward. But once the plot’s set in motion, it’s very entertaining. Denzel Washington's magnetism (a shoutout is owed to A$AP Rocky), an engaging examination of the exploitation of wealth in the music industry, and Lee's direction, which kept me on my toes, all worked. This needed more time in the editing room, but it’s satisfying nevertheless. Want to hear even more of our thoughts? Nick and Shak join Amarú to take A Bigger Bite out of Highest 2 Lowest HERE .

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM Starring: Brian Cox, Gaia Wise, Miranda Otto, Luke Pasqualino, Lorraine Ashbourne, Shaun Dooley, Benjamin Wainwright, Yazdan Qafouri, Laurence Ubong Williams, Billy Boyd, and Dominic Monaghan Director: Kenji Kamiyama PRESTON If you will, imagine two children playing with some generic action figures. They oscillate the figure in their hand between the two stiff, plastic feet in order to pantomime the gesticulations that accompany human speech to emphasize emotion. That’s the best way I can describe the atrocious animation style in The Lord of the Rings: The War of the Rohirrim . There are odd pauses in speech where facial expressions would have really helped with audience connection to the characters. Instead, we get a bland and cliché storyline that drags for far too long, with only moments of interesting relief. AMARÚ My apathy for anime had a hard time reconciling with my love for all things Lord of the Rings , but the latter took over as The War of the Rohirrim delved deeper into its strong story. Director Kenji Kamiyama constructed an epic tale, taking cues from the best of the trilogy, The Two Towers , to build upon the lore of Helm’s Deep, with Brian Cox bringing its namesake, Helm Hammerhand, to life with beastly ferocity. While the rest of the characters are somewhat paint-by-numbers, and the animation vacillates from spectacle to spotty, there’s enough here to make fans happy with this return to Middle Earth. KATIE Despite its shortcomings, I really enjoyed The Lord of the Rings: The War of the Rohirrim. The plot is straightforward and some of the dialogue feels perfunctory, but it gripped me emotionally. I cared about the characters, and found it easy to invest in Héra’s (Gaia Wise) fight for her people and her autonomy. The animation is uneven but often beautiful, and the anime style lends itself well to the exciting fight sequences, which are really dynamic and impressive. Plus, Brian Cox is a standout, giving a rousing vocal performance as Helm Hammerhand. ADRIANO A rep for Warner Bros. outright confirmed that The Lord of the Rings: The War of the Rohirrim was rushed in order for them to maintain the rights to J.R.R. Tolkien's property. I gotta say… You can tell. There is nothing inherently wrong with the story, but it's so basic and unengaging. The movie does have nice visuals in its animation, but the overall vibe I walked away with was that I simply didn't care about the conflict, the characters, or really anything going on. I didn't hate anything about it, but it's just so lifeless.

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.