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GOOD BOY Starring: Indy, Shane Jensen, Arielle Friedman, and Larry Fessenden Director: Ben Leonberg QUENTIN Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy… AMARÚ While Indy the Dog is one of my favorite performances to watch this year, his work also happens alongside overly dramatic voice-overs from his human counterparts. Although the cute hook is enough for me to turn on this uniquely delivered horror film, it isn’t enough to make Good Boy a good movie. Watching a sick human slowly break down from Indy’s perspective is as mundane as it sounds, and typical horror tropes like sharp music cues, dark shadows, and distorted figures in the background only solidify that this is nothing more than a slowly paced, uninspired scary story with a fur-filled, glossy sugarcoat. NICK All the hype you’ve heard about Indy the Dog is justified, as he is absolutely the reason to watch Good Boy . Now, you could make the argument that strategic editing plays just as big a part, but let’s not take credit away from this good boy. Beyond Indy - and some great video game-style third-person camera shots - I wish there was more here. The human performances don’t match the canine, and despite feeling all of Indy’s emotions, Good Boy doesn’t exactly give you reason to feel your own. I love the creative swing (much like In A Violent Nature ), but it could’ve been better. KATIE Good Boy is an entertaining, emotionally engaging horror film with a refreshingly unique premise. The genuinely moving performance from Indy the Dog, who is incredibly expressive and compelling all impressively without the aid of CGI, is the heart and soul of the film. It excels at maintaining tension and building suspense with minimal dialogue, thanks to its simple premise, Indy’s performance, as well as effective editing and a tight 73-minute runtime. Director Ben Leonberg finds creative ways to solidify focus with Indy, and I really enjoyed this strangely sweet, but very spooky, tribute to man’s best friend. ROBERT When the premise of Good Boy was described to me, I immediately thought of Courage the Cowardly Dog . While the gesturing and talking are toned down, the terror and the need for protection bleed through in Indy the Dog’s inspiring performance. The thematic elements of the haunting, which coincide with the illness of Todd, Indy’s owner, are effective and chilling, and the technical wonder of using the cameras to see from Indy’s perspective keeps you invested. I wish, despite the job they do to make us understand Todd’s plight, that they had made him and his sister more sympathetic; however, overall, the whole is greater than the sum. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

HARD HAT RIOT Director: Marc Levin QUENTIN As far as documentaries go, Hard Hat Riot is about as dry as they come, which shouldn’t be surprising considering it was produced for PBS. That doesn’t mean it isn’t worth a watch, especially if you’re interested in how the United States has come to find itself in its current cultural and political divide, but Riot is far more educational than entertainment. There are no flashy interview subjects, just old guys in a room and plenty of archival footage. That said, the parallels to what is happening today, as well as the insight into the redefinition of American politics, are fascinating. KATIE Hard Hat Riot offers informative and impactful insight into an American historical event that I had no knowledge of beforehand, but thoroughly enjoyed learning about over the course of the documentary. Through interviews with individuals who experienced the event, as well as the political climate that led to it, it shows points of view that are authentic and grounded, and normally wouldn't reach a wider audience. Although it doesn’t explicitly make the comparison, it highlights the worrying similarities in our current political landscape and how voters can be manipulated and turned against one another.

SAMARITAN Starring: Sylvester Stallone, Javon “Wanna” Walton, Pilou Asbæk, Dascha Polanco, Moises Arias, and Martin Starr Director: Julius Avery JOSEPH Samaritan has its moments. On one hand, it’s a refreshing take on the superhero genre that feels more like the better superhero films from the early 2000s than your typical MCU fare. On the other hand, the script is sometimes lacking, leaving the villain’s end goal, as well as the nature of his superpowers, extremely unclear. The ending also just feels too long. Even with its flaws, the cast manages to shine, especially Javon Walton and Pilou Asbæk. It’s not a waste of time, but I don’t see Samaritan getting a cult following anytime soon. JACOB Like Spiderhead earlier this year, Samaritan feels like a miniseries that got squeezed into a feature-length runtime. The idea behind the film is an intriguing one - old hero, left his life behind, something happens to get him back in the ring; however, the execution leaves a good bit to be desired. Sylvester Stallone plays his knock-off Rocky-with-superpowers about as well as the film’s writing allows, but the rest of the supporting cast gets little to nothing interesting to do, and Javon Walton doesn’t yet have the skills to shoulder that weight. Despite the effort, it just doesn’t work. NICK Director Julius Avery follows up the underrated Overlord with this pedestrian and clichéd effort. Samaritan manages to be both a kids film without the childlike wonder and an action film without the brutal violence. Sure, Sylvester Stallone works in the lead role, but beyond that, there isn’t much to praise here. Neither the effects nor the supporting cast are able to elevate the film, and any surprises within the story are blatantly telegraphed in the opening minutes. This pairing of star and director, as well as the storyline, deserved better. Sadly, the execution did not meet the promise. QUENTIN Have you ever played a football video game that didn’t have licensing from the NFL, so the teams are generically named something like the California Wildcats? Like… yeah, it’s football, but ehhh. That’s basically what Samaritan is. A lazy stab at a non-IP superhero movie that, honestly, doesn’t even have much superheroing. I’m admittedly a sucker for Sylvester Stallone, but Javon “Wanna” Walton, who is fantastic as Ashtray in Euphoria , is horribly miscast here. He just can’t pull off innocent precociousness. With some truly terrible dialogue and a twist I predicted in record time, Samaritan hearkens back to the superhero movie wasteland of the 90s. PAIGE The Sylvester Stallone-led superhero film Samaritan has a blatant 90s action vibe that would have benefited from more action beats to save it from being a fiery pit of disappointment. Sly isn't given the tools to pull off a movie like this because it's built on a weak script and tame story. It also doesn’t help that it has a predictable twist that you can see coming from a mile away. Don’t get me wrong, the film had potential, and if the story dug deeper into the character instead of anchoring itself to generic superhero tropes about redemption, we may have gotten a better movie.

THE ASSESSMENT Starring: Elizabeth Olsen, Himesh Patel, and Alicia Vikander Director: Fleur Fortune NICK The Assessment is so much weirder than I ever could have imagined... in a good way, though. This science fiction story reminded me of Biosphere with its unexpected story turns and surprising humour. The trio of Elizabeth Olsen, Alicia Vikander, and Himesh Patel completely buy-in to the unique concept, and it's the reason the film works as well as it does. Patel, in particular, is the glue that holds this thing together, and it’s one of his strongest performances to date. Fair warning: the less you know about this one going in, the better. QUENTIN On its surface, The Assessment is a tense and claustrophobic exploration into the difficulties of parenthood. On top of that, it has style to burn, as well as three tremendous performances, none more excellent than Alicia Vikander in one of the best showings of her career. However, as the story widens its aperture into broader world-building and deeper commentaries on bureaucracy and “this could really happen” stakes, it loses the thread a bit. There is still a lot to like in The Assessment , including some self-validation that being a parent isn’t for me, but it just barely misses sticking the landing. KATIE I found The Assessment very frustrating. The cast is great, especially Elizabeth Olsen’s incredible performance, it’s stylishly shot, and on the surface, it explores the intriguing idea of a near-future, dystopian world devastated by the impacts of environmental disaster. However, it's painfully obvious where everything is headed, to the extent that I found all the characters’ actions almost wilfully illogical. The film also presents a cold world run by a dispassionate state, so by the time it asked me to empathise with a character that perpetuates the trauma they claim to be a victim of, I didn’t feel emotionally engaged. PAIGE The Assessment is a compelling lo-fi dystopian drama that isn’t afraid to be bold and unconventional. This dour film, which tackles the harsh and unrealistic expectations society places on parents, strongly resembles a Black Mirror episode. While it does feel somewhat repetitive and overpowering at times, the ups and downs that are presented throughout the movie actually work in its favor. Director Fleur Fortune delivers an impressive directorial debut with fantastic performances from Elizabeth Olsen and Himesh Patel, but the real standout here is Alicia Vikander, who steals the film with her intense yet bombastic performance. ADRIANO Serious sci-fi can have a lot of diminishing returns, but when these types of movies work, they stick with you. The Assessment mostly works. Admittedly, it has some moments when I wasn't completely in on the emotions, but the atmosphere does wonders for the captivating story, as well as the performances. Elizabeth Olsen, in particular, really shines extra bright. Even though the movie's concept is already interesting on its own, I really enjoyed the path in which director Fleur Fortune took the film, leaving a strangely strong impact. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival and 2024 Zurich Film Festival respectively.

JOKER: FOLIE À DEUX Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Harry Lawtey, Steve Coogan, and Zazie Beetz Director: Todd Phillips QUENTIN In Folie à Deux , Joaquin Phoenix seamlessly slides back into the character for which he won an Oscar, and Lady Gaga’s songbird talents are perfectly cast as the relative light to his darkness. That alone would make it worth your time. However, unlike Joker , this sequel actually has something to say, using a subtle meta touch to explore themes of celebrity, obsession, reality v. fantasy, and scandal as entertainment. It’s not flawless, admittedly, as the musical numbers contribute to disjointed pacing issues, but we’re still left with a sequel that, although not quite as good as its predecessor, is more ambitious, which makes it more worthy of respect. PAIGE Folie à Deux attempts to build a mountain, but is barely able to climb a hill due to its pacing issues. Don’t get me wrong, its cinematography is stunning, and the performances are solid - Joaquin Phoenix doesn’t miss a beat as Arthur Fleck, aka Joker, and Lady Gaga is a great addition as Harley (although her character needed to be more fleshed out) - but the film just never really finds its rhythm. The movie feels somewhat hollow as it lacks the depth and impact its predecessor left on its viewers. I do admire it for taking some bold swings, but sadly not all of them land here. AMARÚ Folie à Deux is a logical successor to the mean-spirited 2019 original, which is wild because making a musical follow-up to a crime drama is a big nonsensical swing. But swings hit if they make sense, and the conceit fit Arthur Fleck’s (Joaquin Phoenix) and Lee Quinzel’s (Lady Gaga) brand of crazy. Writer/director Todd Phillips carries over the dark and harrowing tone to continue this story’s flashlight on a descent into madness, not just for the clown couple, but for sensationalization everywhere. I won’t watch it again, as both films left me empty, but I knew that coming in, so for me it worked. ADRIANO Like its predecessor, Folie à Deux is a film that boasts excellent visuals and great central performances that stand in for a subtextually empty film. However, this one's plot lacks any cohesion and depth, and despite how loud he screams, co-writer/director Todd Phillips' attempted themes of fantasy and unearned folk heroes in relation to how the first film was perceived end up hollow. Plus, the musical incorporation is useless time fodder for the most part. It's a film that squashes what fans loved about the first one while doing nothing to disprove the detractors. So, who is this for? PRESTON If you’ve read my previous article (HERE ), then you know I’m a fan of musicals. Folie à Deux is no exception as a demented and, altogether, depressing entry. From the Greas e-like cartoonish intro, I was hooked. Joaquin Phoenix puts up an Oscar worthy performance that had me chuckling, at times, at his superbly nuanced facial expressions. My few detractors are: the way in which Lee Quinzel’s (Lady Gaga) arc falls, its sheer dispiriting nature, and how some of the later musical numbers arrest the once steady pacing. Overall, I applaud director Todd Phillips for this ambitious and appropriately unsatisfying sequel. KATIE Folie à Deux , regardless of its faults, is an impressively ambitious follow-up to the success of Joker . Although I’m not a fan of its predecessor, I love a jukebox musical, so I really appreciated the direction this film took, as well as the gorgeous visuals and lavish musical performances. The pacing is, however, impacted by all the musical numbers being too tonally similar without enough room to breathe. Joaquin Phoenix gives a committed performance, but Lady Gaga and her incredible voice steal the show, even whilst being underutilised and her character undeveloped. NICK I'm not here to tell you Joker: Folie À Deux works, it doesn't. It fails to expand on the Arthur Fleck character or justify its musical aspects. That said, some of the criticism has been a little extreme. This is no train wreck, it's a swing and a miss. Joaquin Phoenix is as committed as ever (though I would have liked to see more Joker) and I had no issues with Lady Gaga's performance. It's a little out there, sure, but it shows ambition. From the moment it was announced, this always felt like an unnecessary sequel and that's exactly what it turned out to be. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival.

WOLFS Starring: George Clooney, Brad Pitt, Amy Ryan, Austin Abrams, and Poorna Jagannathan Director: Jon Watts AMARÚ Wolfs is as meticulous as fixers are with their cleanup jobs. It’s methodical, measured, and purposeful with every camera direction, piece of dialogue, and acting choice; just when you think it may be going a bit too slow, the mystery peels back another layer with an energy jolt that re-hooks your interest. Brad Pitt and George Clooney are clearly best friends having a blast here, and while I certainly enjoyed myself, they are the key reason to keep watching through its fluctuating pacing. Honestly, if not for their charismatic pairing, I might have dozed off a couple times. PAIGE While there is no denying the chemistry between Brad Pitt and George Clooney is unrivaled, Wolfs ’ overarching plot is pretty bland and soulless. The movie just relies too much on its star power to get its story across the finish line. Don’t get me wrong, there is fun to be had here, and the banter between Pitt’s and Clooney’s characters is hilarious; however, that alone can’t save the movie from being anything more than middling. It's unfortunate that writer/director Jon Watts lacked the abilities required to create something more compelling or somewhat memorable. NICK As a fan of George Clooney and Brad Pitt as individuals and especially a tandem, Wolfs was high on my anticipated list. So I'm here to say... it's fine. If this were led by anyone other than the Ocean's alums, it would be a pretty forgettable affair. That said, it’s admittedly great seeing these men back on screen together. There's no real innovation or unique storytelling, and tired tropes such as "they're swearing, therefore it's funny" are relied on too heavily... but damn if the charm of these two fellas didn't keep me engaged every second. They do just enough to elevate my rating. ADRIANO For a film trying to capture the rowdy buddy-comedy fun of the 1990s-2000s era, Wolfs is strangely lifeless. Brad Pitt and George Clooney are as charming as they've ever been, but you can't rely on their charm alone. Sadly, that’s what this film does. I don't know what tone director Jon Watts was going for, but almost all of its jokes whiff. Furthermore, it's one of those movies whose plot is so all over the place that I had to ask myself, "Am I stupid, or does this just not make sense?" It's the latter. QUENTIN If you recall, Wolfs was one of my most anticipated movies of 2024 (refresh your memory HERE ), and if not for the natural chemistry and ball-busting banter between real-life best buds George Clooney and Brad Pitt, it probably would have been a massive disappointment. However, as it stands, it's only a mild one. The bland story just isn’t very compelling, and worse, once all is explained, it is confusingly done so in fast-talking and convoluted rambling. It genuinely feels like this was just an excuse to get Pitt and Clooney together again, story be damned. Admittedly, it works well on that front, but that’s about it. PRESTON I don’t think the Brad Pitt-George Clooney duo could ever make a poor movie. Their combined subtle acting brilliance, comedic timing, and endearing bro-ish chemistry are enough to make any film worth watching. That said, Wolfs is not without its faults. Even as I try to recall many of the events, just one day later, it isn’t easy. The predictability and middling storyline just make for a forgettable film, but that doesn’t mean you won’t have a good time. It’s, at least, a breezy watch that won’t have you wishing you were doing something else.

FRANKIE FREAKO Starring: Conor Sweeney, Matthew Kennedy, Kristy Wordsmith, and Adam Brooks Director: Steven Kostanski This film has been reviewed by Quentin, Paige, and Nick as part of Bitesize Breakdown's coverage of the 2024 Fantastic Film Festival. QUENTIN After the out-of-nowhere gem that was 2020’s Psycho Goreman , I’ve been eagerly waiting to see what writer-director Steven Kostanski would do next. Thankfully, he does not disappoint with Frankie Freako . Much like Goreman , Freako is an authentic homage and loving tribute to some of the weirder sci-fi family movies of the 80s, from the puppetry to the costume, set, and production design. Even small details, like drinking neon green cans of “Fart…with caffeine!”, feel delightfully 80s. Even though this was my first time watching Freako , my nostalgia meter was off the charts, conjuring memories of everything from Risky Business to The Garbage Pail Kids. NICK Back in the before times, with video rentals and straight-to-DVD releases, you'd find films like Frankie Freako with relative ease. Today, they're a product of a bygone era and a nice blast of nostalgia. An homage to films like Gremlins , Freako never feels like an imitation. The creatures are memorable and well designed, the concept is entertaining, and it all makes you feel like a kid again (although I wouldn't call this a kids film). Director Steven Kostanski seemingly improves as a director with every film, and I hope he continues making movies like this one. PAIGE Frankie Freako lives up to the hype of its predecessor, Psycho Goreman , a writer/director Steven Kostanski crafts one of those rare modern gems that feels like a true throwback to the fun, 1980s creature features we used to get. This wacky B-movie features amazing puppetry reminiscent of Labyrinth and The Dark Crystal , as well as comedic beats akin to Gremlins 2: The New Batch . Though some may find this movie obnoxious (which it kind of is), if you enjoy campiness, you'll value the creativity and craftsmanship used in this flick.

RAYMOND & RAY Starring: Ewan McGregor, Ethan Hawke, Vondie Curtis-Hall, Maribel Verde, and Sophie Okonedo Director: Rodrigo García NICK Although Ewan McGregor and Ethan Hawke give fine performances, Raymond & Ray struggles to stand out. There are some comedic moments and quirky elements, but beyond that, it's a film that just sort of happens, underscored by an out-of-place hotel lounge score. The pairing of McGregor and Hawke sparked excitement, but the lackluster story and characters let them down. Unfortunately, for me, Raymond & Ray will mostly be remembered as a film that didn't take full advantage of its cast. It’s another case of what could have been. QUENTIN You’ve heard the old saying “two wrongs don’t make a right.” Well, two great actors don’t necessarily make an entertaining movie either. Despite being a character dramedy with a premise brimming with black comedic potential for Ethan Hawke and Ewan McGregor, Raymond & Ray is extremely flat and a minor labor to watch. The story is generally uneventful, featuring bland characters that belie the natural charisma of the two stars. I don’t want to say Hawke and McGregor are phoning it in, but frankly, they just aren’t given much to do except show up. That alone can’t save this sluggish, anticlimactic, and boring misfire. ADRIANO Part of me enjoyed Raymond & Ray , while other parts of me did not. Ethan Hawke and Ewan McGregor are very good, they work well off each other, and they created a genuine feeling of a brotherly bond in a story full of increasingly crazy moments. I ate that up the most. However, it ultimately overstays its welcome. Once the main plot ends, it just keeps going for some reason, and I wasn’t really enjoying myself anymore. So, while there is enough here to recommend, there isn’t enough for me to watch it again. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

TILL Starring: Danielle Deadwyler, Jalyn Hall, Frankie Faison, Whoopi Goldberg, Sean Patrick Thomas, John Douglas Thompson, Haley Bennett, and Marc Collins Director: Chinonye Chukwu ADRIANO There was a very fine line that writer/director Chinonye Chukwu had to walk for Till , given how disturbingly tragic the subject matter is, and thankfully, that line was walked wonderfully. This film isn’t an easy watch in the slightest, but Chukwu did a wonderful job of making it digestible for audiences by focusing not only on the incident itself, but also the good that can come from horrific tragedy. Mamie Till’s story is incredibly powerful, and Danielle Deadwyler delivered her story with an earth-shattering and breathtaking performance that shook me to my very core. Overall, a tough but worthwhile experience. JACOB The scripting of Till may feel rather conventional, but sometimes, all a good story needs is to be well-told, and the legacy of Mamie Till-Mobley as portrayed in this film is a sacred one to tell. Deftly handled with careful direction from Chinonye Chukwu, not to mention starring a best-yet Danielle Deadwyler, the film wisely refuses to indulge the white brutality of its central event, yet still confronts the audience with the consequence of it. The score and sound editing are its biggest strengths in that respect, and while those awards chances are tentative, Deadwyler is a surefire contender for a Best Actress Oscar.

LATE NIGHT WITH THE DEVIL Starring: David Dastmalchian, Ingrid Torelli, Laura Gordon, Ian Bliss, Rhys Auteri, Georgina Haig, and Fayssal Bazzi Director: Colin Cairnes and Cameron Cairnes NICK Late Night with the Devil is an impressive feat. The film not only transports you back in time to the 1970s, but it does so while seamlessly blending its timeline into our actual past. This smart directorial decision makes everything feel authentic to the period. David Dastmalchian plays the host of the proceedings, and he channels the squeaky-clean cheese of yesteryear with an era-perfect performance. You feel as if you’re sitting in the audience of this supposed pivotal moment in time, and it makes for a special theatrical experience. KATIE Late Night with the Devil is a smart, satirical, stylish, and spine-chilling horror film. It convincingly emulates the style and texture of 1970s late-night television, but still feels very fresh, with an impressively engaging found-footage concept driven by David Dastmalchian’s charming yet creepy performance as TV host Jack Delroy, who is forced to face the consequences of his venality. If you begin to question some of the logic in the film, it begins to not make sense, but I didn’t mind as this is a punchy, well-executed retro-style horror with a creative approach and some great scares. PAIGE Late Night with the Devil is a campy yet eerie film that is atmospheric and stylish. The movie makes the most of its strengths, with David Dastmalchian playing a struggling talk show host against the backdrop of the 1970s, and its unique approach of mixing a live late night talk show with found footage. It's a brisk and creative horror film overall, even though its cautionary tale about the dangers of selling yourself for fame or prosperity could’ve gone further with its scares and ideas. QUENTIN *Sigh* Here we are again…another critically acclaimed horror movie that everyone seems to be raving about and another genre disappointment for ol’ Q. Maybe it was too overhyped, but despite my appreciation for the authentic 70s talk show vibe and David Dastmalchian’s terrific performance, there just isn’t a lot to grasp on to here. The story is somewhat disjointed, completely lacking in scares, suspense, and tension, while the ending feels unearned as certain revelations kinda come out of nowhere. I can’t deny the film’s successes on the technical front, but I remain on my years-long hunt for the next great horror film. CALEB For a found footage movie to work, it has to be immersive, and Late Night with the Devil is anything but. The wonky CGI, awkward exposition dumps, and terrible AI artwork made it impossible for me to lose myself in the 70s aesthetic. It didn’t help that the movie would occasionally forget it was found footage, and the characters would begin conversing privately as if they weren’t on camera. I could forgive the inattention to detail if it were more engaging, but the narrative moves at a snail's pace, and the “scares” are laughable. Unfortunately, the only frightening thing about Late Night is the horrific corner-cutting.

MOUNTAINHEAD Starring: Steve Carell, Jason Schwartzman, Cory Michael Smith, and Ramy Youssef Director: Jesse Armstrong BODE It makes perfect sense that Jesse Armstrong’s first post-Succession project would make tech bros a target given how brilliantly he skewered them in that show’s last two seasons. That’s why it’s such a bummer that his directorial debut, Mountainhead , doesn’t really work. Its satire feels empty, its profane dialogue comes off laboured, its characters are insufferably one-dimensional (only Cory Michael Smith manages to add SOME layers), and even when it teases an absurd twist, it doesn’t really go anywhere. I’m sure Armstrong wanted to meet the moment as soon as possible, but he would’ve been better off letting it stew instead. KATIE Jesse Armstrong co-wrote and created both my favourite sitcom and TV drama, so in this context, it was fun to see how he’d tackle his debut feature. It’s definitely flawed, but the dialogue is zingy, the performances are hilarious, and I laughed out loud many times. It’s hyper-satirical in a similar vein to Succession , but it's driven more by the compelling dialogue than character development or plot. I didn’t mind this at all as a fan of Armstrong’s writing and blunt style of comedy. Mountainhead seems to continue a theme in Armstrong’s work that could be summarised as “these people are idiots.” ROBERT When the world goes to Hell, who can you trust but the billionaire tech moguls? That is what the four Horsemen of the App-ocalypse believe in Mountainhead , the debut film effort of Succession ’s Jesse Armstrong and the brain trust behind the popular HBO dramedy. If you like that show, its aesthetic and character templates of dumb rich guys making decisions that impact the world are on full display. However, it equates to, mostly, absorbing news and fake news and having it relayed amongst the four leads as they blather about how to move humanity into the future. There simply isn’t time to grow to like the characters, and thus, it feels cold. QUENTIN Seemingly, I’m one of the few people who didn’t enjoy Succession . For various reasons, it was a prestige drama that just didn’t work for me; however, I was intrigued about how a similarly satirical take from Succession ’s creator would look as a comedy. Turns out, I didn’t like Mountainhead either. It feels a lot like a stage play adapted to the screen, which eventually becomes tedious. Even worse, though, is that the four characters all come across as various versions of Elon Musk, and spending nearly two hours with four Musks is as abysmal and unfunny as you would think, especially given the “too soon” factor.

I SAW THE TV GLOW Starring: Justice Smith, Brigette Lundy-Paine, Ian Foreman, Helena Howard, Fred Durst, and Danielle Deadwyler Director: Jane Schoenbrun ADRIANO I Saw the TV Glow cements Jane Schoenbrun as one of our most exciting upcoming filmmakers. Between this and their last film, Schoenbrun shows that they have a keen talent for unique storytelling, especially in their approach to themes of queer identity and our attachment to media. Schoenbrun's use of the camera and colour is particularly fascinating here, as the film takes a radical turn halfway through to become a surreal and intense experience that I was locked in for. I can't say I understood everything, but I feel I'll be pondering I Saw the TV Glow for a while. NICK It's rare that I go into a film completely blind, but that's exactly how I approached I Saw the TV Glow . Never in a million years did I expect to see an homage to Buffy the Vampire Slayer , but that is a running theme throughout. The film focuses on themes of sexuality, identity, and family trauma, all through the lens of a television program and the escape it offers. There is horror imagery, but this is much more of a psychological study, and for me, it is a welcome introduction to the direction of Jane Schoenbrun. PAIGE Similar to director Jane Schoenbrun’s previous film We’re All Going to the World's Fair , their newest release I Saw the TV Glow is a unique and moody slow burn that may not be for everyone, but is a film that allows outsiders to feel seen. With a captivating visual aesthetic, an amazing soundtrack, and hypnotizing themes of identity and escapism, Schoenbrun skillfully blurs the boundaries between fantasy and reality. Even though I didn't think the movie worked as a whole, I'm glad it was made, as it attempts to examine its themes in a surprisingly singular way. CALEB I Saw the TV Glow is a soul-stirring cautionary tale about the emptiness of self-repression. It’s a hallucinatory technicolor nightmare, brimming with style. Much like Director Jane Schoenbrun’s previous outing, We’re All Going to the World’s Fair , TV Glow adeptly explores how media consumption is interlinked with adolescence and self-discovery. Through their emphasis on acoustic indie-rock and suburban liminality, Schoenbrun weaponizes nostalgia, showing just how quickly a fond memory can transform into a source of lifelong regret. TV Glow is a wholly unique psychological horror with impeccable direction, fantastic performances, and an ending that shook me to my core. Don’t miss this one. AMARÚ With its central television conceit being based on Buffy The Vampire Slayer, I Saw the TV Glow has a cool cameo I genuinely appreciated. That’s as complimentary as I'm going to get, especially after watching a scene featuring a black mother driving off before seeing her child enter a friend’s house, which immediately let me know I wasn’t here for this ride. It's not that the movie doesn’t have merit - there’s a profoundly powerful message about identity here - but its psychedelically chaotic execution is 100% not my speed. If I never hear the words “pink” and “opaque" said in succession again, I’ll be happier for it. QUENTIN Just because a movie is an esoteric metaphor for an important theme like gender identity doesn’t mean the movie is actually good, nor does being inaccessible and artsy automatically equate to “substance.” I also think there are people who will say they love a movie precisely because they didn’t get it. Like, “if I didn’t get it, it must be smart!”, because no one likes admitting they don’t understand something. I Saw the TV Glow is where those thoughts meet because, despite the positive buzz, this movie is a monotonous slog so far up its own self-serious ass that it forgets to engage the audience.