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AIR Starring: Matt Damon, Ben Affleck, Jason Bateman, Chris Messina, Marlon Wayans, Chris Tucker, Matthew Maher, and Viola Davis Director: Ben Affleck QUENTIN Considering it’s a movie about a shoe deal, which doesn’t sound remotely interesting on the surface, it’s wild just how well Air comes together. Between the terrific performances, banging soundtrack, and inspirational-but-not-overly-sentimental monologues, director Ben Affleck and writer Alex Convery take what could have been an extremely dry corporate story and turn it into a film that pops with the energy of March Madness. Admittedly, certain parts feel a little too breezy, making Air an apt title, but whatever the film lacks in gravitas, it more than makes up for in rousing entertainment value and, for basketball fans of a certain age, pure nostalgia. JACOB Ben Affleck is back in the director’s chair with Air , and while I won’t say it blew me away in any capacity, it is probably about as good as a movie like this can be. The performances are all solid (Ben Affleck and Chris Messina steal the show), the script is workmanlike and structurally sound, and Affleck’s direction is as assured as ever. Somehow, the movie gets you to care that Michael Jordan says yes to a shoe line, and it’s not because of Jordan himself. I do wish the film felt a little more epic to non-NBA followers, though. ADRIANO I say this with no exaggeration: I left Air with my fists stuck in the air. It’s the kind of crowd-pleaser that you want to experience in a packed theater; one that makes you want to dream big, yet it never feels overly sentimental or cheesy. I know nothing about basketball, but that didn’t matter. I was able to follow this inspiring story through and through, thanks in part to a surprisingly funny script and one hell of an ensemble. I don’t know who I wouldn’t recommend this one to. It’s a movie for everybody. AMARÚ Air ’s structure consists of two main components: needle drops and monologues. One great song sets up an inspiring and superbly acted speech from the likes of Matt Damon (Sonny Vaccaro), Viola Davis (Deloris Jordan), and the rest of the great cast (Matthew Maher as Peter Moore is a standout), which cues the next great song, and so on and so forth. While the film’s last act is a rousing culmination of this round robin, the film would have elevated from really good to great if the entire runtime felt as cohesive as the last 30 minutes.

BARBER Starring: Aidan Gillen, Aisling Kearns, Liam Carney, David Herlihy, and Simone Collins Director: Fintan Connolly AMARÚ Barber feels like it would fit right alongside BBC’s Sherlock , delivering weekly investigations as a TV show. Coupled with an interestingly personal character storyline for the always fantastic Aidan Gillen, I wasn’t too mad at it. While it feels longer than its 90-minute runtime, focusing on a slow and simmering pace rather than the flash-bang intensity of other private investigator content, Gillen is able to chew up the pensive moments with his grizzled demeanor and gravelly tone. Barber isn’t anything new, but Gillen carries the titular private-eye role like he’s known this character intimately for more than a few decades. PRESTON Barber neatly fits into a style of film that I particularly enjoy. It is a thoughtful and (somewhat excessively) slow-developing whodunit that wields the tools of dialogue and subtlety with journeyman-like effectiveness. Aiden Gillen performs the role of complicated private investigator perfectly, and one can imagine a successful TV series spinoff. The editing is rarely clunky, but it still suffers slightly in execution as director Fintan Connolly rushes to fit a confusing myriad of characters into the film’s denouement. Incidentally, the timing of its filming highlights the more annoying aspects of the pandemic, which is never fun to relive.

NICKEL BOYS Starring: Ethan Herisse, Brandon Wilson, Hamish Linklater, Fred Hechinger, Daveed Diggs, and Aunjanue Ellis-Taylor Director: RaMell Ross ADRIANO A soaring ambition from debut director RaMell Ross, Nickel Boys is a staggering and profound accomplishment. I surprisingly adjusted quickly to its first-person perspective, allowing the film to use its experimental narrative to avoid any of the trappings we may be used to from films that tackle historical atrocities. If anything, Nickel Boys feels like an antithesis to black trauma porn, instead coming across as a beautiful film about friendship and survival through choosing love over despair. I can see some struggling with the structure, but if you can get sucked into this one-of-a-kind experience, it'll be worthwhile. AMARÚ Nickel Boys is a creative feast to witness due to the visual choices director RaMell Ross uses to relay the harrowing situation of titular characters, Elwood (Ethan Herisse) and Turner (Brandon Wilson). The alternating first-person perspective is a powerful tool used to get through a fairly tough watch - tough in both its content and pacing. It’s a lot watching another movie about the atrocities of this country’s past coupled with watching a personal day-to-day-in-the-life narrative; however, the brilliant performances and inspired direction make this one-time watch a must-see experience. QUENTIN Writer-director RaMell Ross deserves immense credit for having the balls to attempt something as incredibly ambitious as Nickel Boys because it truly is refreshing to see an innovative approach to filmmaking. That said, his choice to root this adaptation in a first-person perspective (amongst other flourishes) didn’t work for me. Like, at all . It’s disorienting and often confusing, keeping me entirely at arm’s length from what should have been an emotionally moving story. It’s an overlong and arduous film that would play better during an exhibit at the Smithsonian’s National Museum of African American History and Culture than at multiplexes. “A for effort,” as they say…

AVATAR: THE WAY OF WATER Starring: Sam Worthington, Zoe Saldana, Stephen Lang, Sigourney Weaver, Kate Winslet, Cliff Curtis, CCH Pounder, Jamie Flatters, Britain Dalton, Trinity Jo-Li Bliss, Bailey Bass, Filip Geljo, Jack Champion, Edie Falco, Joel David Moore, and Jemaine Clement Director: James Cameron ADRIANO I found it relatively easy to get past The Way Of Water ’s glaring issues, including the fact that it’s too long, the character writing is weak, and the high frame rate dips often. However, despite all that, returning to Pandora after all these years felt like the wait was worth it. Director James Cameron’s stunning world-building truly feels like you’ve been transported to a whole new universe, thanks to the revolutionary visual effects and gorgeous underwater cinematography. Writing certainly has room for improvement, but I was delighted to watch this franchise continue, and I can’t wait to see what’s next. PAIGE The Way of Water is making a splash with its stunning and jaw-dropping visual effects, and I was in a constant state of aww and immersion being back in the world of Pandora. Director James Cameron promised us something special, and he delivers. You can feel Cameron’s love for the ocean and the importance of environmental conservation within this film. But honestly, it’s a very simple story just told in a big way. With this second installment focusing more on character and world-building, the overall plot takes a backseat, leading it to feel more like a filler movie. QUENTIN Whatever you think of Avatar , good or bad (I lean bad), The Way of Water is more of the same. The story is another riff on Dances with Wolves (with a touch of Mean Girls ) that lacks genuine heart and thrilling action because nothing really matters outside of director James Cameron’s ego…er…tech; considering that is -THE- reason to see the movie, it’s mostly a failure on that front (at least in 3D HFR). It’s so smooth and computer generated that it feels like watching video game cutscenes with very noticeable green screening. At 3+ hours, it’s more of an exhausting tech demo than a movie. AMARÚ Director James Cameron is the king of blockbusters. Even after decades away from directing, there’s no questioning his passion for the theatrical experience. With The Way of Water , you clearly see the years of intricate detail he pours into his craft. The story and characters are straightforward, but that doesn’t make it any less entertaining. It’s a breathtaking spectacle that feels like the best video game cutscene you’ve ever seen. For some, that may feel fake; for me, it was cool to witness. Cameron reminds you why the original was so special, and proves there is a reason to return to Pandora. JTE The king of sequels has returned! Once again, director James Cameron delivers a sequel that improves on the original in almost every way. While the special effects are once again extraordinary, it's the characters that we meet and get reintroduced to that make everything in this film work. We care about this entire Na’vi family more than we cared about Jake Sully (Sam Worthington) in the first one (even the villain is given more dimension to make the stakes of the film more complex). All this only enhances the action-packed finale that once again cements Cameron as King of the World. JACOB Despite some lackluster pacing in the second act and a few issues with the ending refusing to let the “franchise” of it all go, The Way of Water remains a successful sequel to the 2009 film and a marvelous visual spectacle. The water work is as beautiful as you’ve heard, and the visual effects Oscar race is over. While it’s not quite as clean-cut as its predecessor, director James Cameron once again provides thrilling action alongside miraculous imagery to deliver a truly stunning cinematic experience despite the fact that the characters haven’t gotten any thicker and he still struggles with dialogue. DARRYL While the stakes of The Way of Water aren't as high as its predecessor, the grandeur of storytelling is. Director James Cameron provides a visual experience that reminds moviegoers of the art of blockbuster filmmaking. Technically masterful, Cameron's worldbuilding continues to be unparalleled in terms of sheer immersion, and while not quite as good as the first, the further exploration of the characters and introduction of new ones still makes for one of December's most entertaining films. Best seen in IMAX 3D, Cameron has proven that he still has plenty more to say about this world, and more than enough gas left in the tank to tell you about it.

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.

WITH LOVE AND A MAJOR ORGAN Starring: Anna Maguire, Hamza Haq, Veena Sood, Donna Benedicto, and Arghavan Jenati Director: Kim Albright PRESTON With Love and a Major Organ is a mostly original, dark comedy sci-fi film whose social commentary is something we can all relate to in some way. I will admit, while liking the story overall and agreeing on the dangerous direction our society is heading, I felt a depressive annoyance with the subtle finger-wagging message of embracing artsy carpe diem mindsets and villainizing practicality (but that may just speak to my own traumas). Despite my overly personal digression, this film smartly demonstrates a quirky romanticism that doesn’t stray too far from an ideal whose espousal is one that I really appreciate. NICK There are some parallels between this film and last year's Fingernails , as both are tales of a futuristic way to live, with an eye on finding love and happiness. The main difference is this Anna Maguire-led feature does a much better job telling that story. Although the film doesn’t shy away from difficult questions, it poses them while maintaining a pure sense of optimism that brings a welcome sense of hope with it. This is a well-acted film that should make you chuckle, smile, and restore faith in your ability to overcome obstacles. Depending on your mood, this may be just what the doctor ordered. PAIGE With Love and a Major Organ is a visually striking and distinctive film, but ultimately, it's a boring and uninteresting watch. I had to fight to finish the entire movie because I was losing interest in it so quickly. The characters are clearly unlikable, and the script lacks any sense of urgency or motive to make the audience care about them. Plus, it’s all too obvious and without any depth. All in all, it's a tale that might work fine on paper, but struggles to translate to the big screen. This film was reviewed by Nick, Paige, and Preston as part of Bitesize Breakdown's coverage of the 2024 Canadian Film Fest.

THE POWER OF THE DOG Starring: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee Director: Jane Campion JACOB Film lovers unaware of writer/director Jane Campion should be rocked when they discover her via The Power of the Dog . Although its first half is slow, this methodical treatise on predatory abuse and its generation-permeating infections leaves an appreciable impact on the viewer. Each and every performance is in top form – especially Benedict Cumberbatch and Kodi Smit-McPhee – but Campion is the real star of the show. Her control is felt over every minute of story, over every shot and line delivery. Even as it ages, this one is going to stick with me for a long, long time. JAMES It seems we’re inundated in Cumber-dramas these days, and The Power of the Dog is one you don’t want to miss. It’s a film that constantly surprises, using the tropes of the western genre to subvert your expectations. Phil (Benedict Cumberbatch) is a truly nuanced character. By turns, I rooted for him, hated him, and felt sorry for him. He’s a man of contradictions: lovable for his devotion to his work, despicable for his treatment of Rose (Kirsten Dunst). This film is a cautionary tale of what happens when we choose to tarnish others’ joy instead of celebrating it. JOSEPH The Power of the Dog may just be the moodiest, dreariest film of the year. Packed with talent, the film boasts nearly everything that makes for an award winner, except it’s incredibly dull. It’s mostly just a compilation of beautiful nature shots, people solemnly staring at the camera, and some vague connecting threads that create something that resembles a story. Thankfully, despite how bored I was, I can confidently say each actor gave a fantastic performance, but it just wasn’t enough to save this movie for me. ADRIANO The Power of the Dog is a gripping slow burn worth every single second. Writer/director Jane Campion’s latest is a tense and miraculously crafted western that plays as a very effective examination of toxic masculinity. This is, hands down, one of the year's best ensembles, led by Benedict Cumberbatch at his absolute best…but Kodi Smit-McPhee is the revelation here. Campion’s attention to detail is superb, the story is unbelievably captivating, and I do not see how that ending is gonna leave me any time soon. QUENTIN First, a random hot take: There Will Be Blood is extremely overrated. I tell you that to give context for the rest of my review. Now… The Power of the Dog is a mix between There Will Be Blood and another (in my opinion) extremely overrated Oscar darling that I can’t name here because it would take us to Spoilertown. Admittedly, the cinematography is absolutely gorgeous and the performances are good-not-great. However, it’s a slow-moving bore that would rather be about masculinity in the artful abstract than tell a gripping story. It’s for only the most pretentious of film nerds.

FLORA AND SON Starring: Eve Hewson, Orén Kinlan, Joseph Gordon-Levitt, Jack Reynor, and Paul Reid Director: John Carney ADRIANO Flora and Son doesn’t reach the same levels as writer/director John Carney’s other films, but it’s still very hard to resist. It’s elevated by the effortlessly charming lead performance of Eve Hewson, whose vulgarity makes way for some serious emotional payoff. Carney, once again, looks at how we can find healing through music, and while it can come off as corny at times, it's an irresistible crowd-pleaser that is funny, sweet, and easy to get behind. NICK Headlined by the underrated Eve Hewson, Flora and Son mixes a dysfunctional family drama with a modern-day love story. Hewson's Flora works well with all characters, but none as strongly as Joseph Gordon-Levitt's Jeff. This is thanks to director John Carney coming up with creative ways to make sure we aren’t just staring at a laptop screen for half the runtime, as well as the perfect casting of Gordon-Levitt. It’s just such a pleasant surprise, and as unlikely as it may be, I’d genuinely be interested in seeing the continuation of this story. PAIGE While director John Carney delivers another feel-good music-infused film, I can’t help but feel that Flora and Son is lacking the heart and magic present in Carney’s previous film, Sing Street . Don’t get me wrong… I quite enjoyed this movie due to the natural and charming performances of Eve Hewson, Joseph Gordon-Levitt, and Orén Kinlan, but it needed more oomph to fully convey the solid message of a mother trying to reconnect with her son through music. I needed more Flora AND SON than Flora and Gordon-Levitt’s character. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival, and Nick as part of the 2023 Toronto International Film Festival.

MAESTRO Starring: Carey Mulligan, Bradley Cooper, Matt Bomer, Maya Hawke, and Sarah Silverman Director: Bradley Cooper QUENTIN Truth be told, I had little interest in Maestro since I have no personal connection to Leonard Bernstein. Even as the movie began, I was unsure about it for the first 20-30 minutes. However, credit given where credit is due: it’s exquisite. Bradley Cooper disappears into the role of Bernstein so deeply that you often forget you’re watching an actor, and he’s matched beat-for-beat by Carey Mulligan. Maestro is certainly more of a “film” than a “movie,” so I’m not sure how well the general public will take to it, but for me, this is another win for Cooper both in front of and behind the camera. ADRIANO Bradley Cooper's sophomore effort in the director's seat, Maestro , sees a drastic upgrade in his abilities behind the camera. Everything is meticulous, the shots are stunning, and the film distinguishes itself pretty amazingly, not to mention Cooper’s unrecognizable performance as Leonard Bernstein, which is complemented beautifully by Carey Mulligan, who I'd argue is even better than Cooper. Sadly, the writing does not reach the heights of its direction, as the film's bullet-point approach almost lost my interest entirely. It won me back towards the end, but not enough to say that Maestro was anything more than great crafts that elevate weak storytelling. PRESTON Maestro is an alluring, artistic film that successfully captures the complicated love of its protagonists, Leonard Bernstein (Bradley Cooper) and Felicia Montealegre (Carey Mulligan). Mulligan gives us one of the best performances of the year, even outshining the magnificent Cooper. However, the film isn’t without its faults. Cooper is frustratingly incomprehensible at times due to mumbling that is reminiscent of Geoffrey Rush in Shine , which is further hindered by multiple scenes where everyone is talking over each other. The storytelling is choppy, and it's a bit of a slow-starter too. That said, in the end, its overarching successes far outweigh its shortcomings. NICK If A Star is Born put Bradley Cooper on the map as a director, then Maestro only strengthens that spot because Cooper uses clear advancements in his abilities behind the camera to craft a beautiful film. It’s on screen, however, where he shines brightest, disappearing into the role of Leonard Bernstein. Much like this year's Priscilla , Maestro focuses on a layered and problematic relationship helped along by a terrific performance from Carey Mulligan. Her work as Felicia Montealegre is heartbreaking, and one of the most authentic portrayals of late-stage cancer I’ve seen in some time. AMARÚ We all know Bradley Cooper, The Actor, but I think Maestro might remove the “underrated” qualifier from Bradley Cooper, The Director because that guy showed out. He brought joy, passion, and pain to each frame, which kept me deeply focused on every present moment. Weirdly though, those moments didn’t stick with me. But weirdly again, those moments didn’t exactly leave me like other moments-in-time movies without a clear destination. I was constantly enthralled by what I was experiencing, and that’s due to Cooper’s outstanding direction. Side note: has there ever been more cigarette screentime in a film? My goodness! KATIE Unfortunately, I felt I was watching a film carefully constructed to attract critical attention and awards nominations. Maestro is frustratingly tame and seems to consciously avoid controversy, which doesn’t make sense considering the complex nature of Leonard Bernstein’s (Bradley Cooper) public and private relationships. It breezes through Bernstein’s life like a tick box exercise, leaving me feeling distanced from the character, and I left the film without insight into Bernstein’s genius or emotional state. However, Carey Mulligan is amazing as she steals every scene she is in, while the film itself is aesthetically and technically impressive. Maestro is all surface and no substance. PAIGE Despite the fact that Maestro has elegant cinematography and fantastic performances from its two leads, Bradley Cooper and Carey Mulligan, I couldn’t help but feel empty and distant throughout the entirety of its runtime. Maybe it just wasn’t quite my tempo, but with a mindless script, it all felt as if the story had nothing to say about its subjects. Even though it’s dazzling and well-directed by Cooper, it’s all too surface-level when it comes to everything about Bernstein’s life, especially the love story with his wife, which is the focal point of its story. CALEB With Maestro , director Bradley Cooper frames some striking shots while also extracting some amazing performances from the cast, but it’s all in service of an underwhelming narrative. By the end of the film, I don’t think I actually learned much about Leonard Bernstein (also Cooper). The film focuses primarily on his marriage, which should’ve been interesting, but the way in which the subject matter is explored is very surface level. Consequently, the film ends up being rather timid. It’s clear that Cooper is a talented director, but I wish Maestro had just a bit more meat on its bones. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

THE FORGIVEN Starring: Jessica Chastain, Ralph Fiennes, Matt Smith, Christopher Abbott, and Caleb Landry Jones Director: John Michael McDonagh JOSEPH The Forgiven tries to illustrate numerous points but is at its best when holding a mirror to the mindless self-indulgence of wealthy Western culture. It’s an absolutely scathing critique of the indifference of the rich, but thanks to the great cast, we are still able to empathize with each character to some degree as we learn who they are. I don’t feel things are as fleshed out as they could be, but it does what it sets out to do. I only wish the runtime was longer so the nuance of the more minor characters could be explored further. QUENTIN The beautiful cinematography, simmering tension, and great performance from Ralph Fiennes (not to mention his character’s well-developed arc) will keep you mostly engaged in The Forgiven despite its insistence to keep returning to the Jessica Chastain side of things, which, through no fault of her own, is wholly uninteresting. While director John Michael McDonagh’s direction, full of static camera shots and minimalist characteristics, makes everything come across as distant and cold, maybe that is by design - to show that the wealthy are a soulless lot (in which case, fair enough). Either way, The Forgiven is a good-but-not-great movie that I feel somewhat dispassionate about.

MAGAZINE DREAMS Starring: Jonathan Majors, Haley Bennett, Taylour Paige, Michael O’Hearn, Harrison Page, Harriet Sansom Harris Director: Elijah Bynum ADRIANO Magazine Dreams accomplishes its goal of telling the story of a man pushing himself to the edge of his sanity, yet I’m still mixed on the end result. It’s worth watching for Jonathan Majors’ performance alone because he is impossible to look away from as he gets closer to the edge. Plus, it’s shot well and the tone is both entertaining and uncomfortable. But a lot of the choices, particularly towards the end, don’t feel earned. I don’t think Majors’ character is fleshed out enough to justify many of his actions, and I just wound up being confused. AMARÚ There are movies that put a heartbreakingly pensive mirror up to obsession, mental illness, and the pursuit of perfection; then there is Magazine Dreams . Elijah Bynum’s direction is intense and greatly focused, but the story he wrote comes off as plain mean. Jonathan Majors’ portrayal of bodybuilder Killian borders on outright cruelty with how deeply he dives into the traumatized physical and mental psyche of his broken character. Throughout the film, he hate-watches videos and hate-reads comments about himself, which seems to be the point of Dreams . Instead of a cautionary tale, it’s a practice in self-mutilation, and for me, it’s too much. PAIGE Time to separate the art from the artist. I’d be lying if I didn’t say Jonathan Majors delivers a powerhouse performance in director Elijah Bynum's second feature; a beautifully shot, dark, and unsettling character study. Magazine Dreams provides a horrifying glimpse at toxic masculinity in the world of bodybuilding, and the negative effects that striving for perfection can have on one's mental health. Having said that, it’s a hard watch from start to finish, not because of its subject matter, but due to its uneven script. The film's inconsistent narrative caused it to drag, and by the end it became too tense for its own good. BRYAN Jonathan Majors disappears, emotionally and physically, as a troubled wannabe bodybuilder in Magazine Dreams , showcasing his best performance yet. Without him, the film would have just been a run-of-the-mill psychological character study, akin to Taxi Driver or Joker . Despite the similarities to those films, this manages to still be a fascinating watch, however. The terror and uncomfortableness are present from start to finish, containing a heartbreaking dive into trauma and mental illness. With all the promise in the first two acts, it does dwindle massively in the third act, which kept it from fully sticking the landing. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2023 Sundance Film Festival.

COMPANION Starring: Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, and Rupert Friend Director: Drew Hancock ADRIANO Companion is a fun time at the movies, featuring some exciting visuals and an unapologetic zaniness in its tension. Sophie Thatcher and Jack Quaid are both excellent and ground the film, which is necessary because it gets shallow when the film tries to truly explore its themes. The movie's attempts at being about toxic relationships and Andrew Tate-esque male insecurity essentially come across as "this is bad" and not much else. Also, there are plenty of twists, but I saw most of them coming. Still, from a pure entertainment standpoint, there's plenty to enjoy. KATIE Companion is a solidly entertaining thriller with good performances, but it's not without its shortcomings. At times, I was unsure if the dialogue was meant to be funny or just very obvious with the point, and I found Jack Quaid’s character, Josh, to be so underdeveloped that he felt like a caricature. The film attempts to comment on incellic notions of how women should act and behave, but it doesn’t feel earned and is ultimately unsatisfying. Nonetheless, Sophie Thatcher is incredible, showing off her scream queen potential, and I’ll be eagerly awaiting her next horror project. PAIGE Companion is a deranged and twisted sci-fi horror with sharp commentary that explores toxicity in relationships in a dark yet humorous manner. Even though the concept isn't totally original and the pacing is a bit all over the place, first time director Drew Hancock does a great job executing this story. The film isn’t shy, knowing exactly what it is: a fun, gnarly, and over-the-top thrill ride. Jack Quaid kills it as the too-good-to-be-true boyfriend Josh, while Sophie Thatcher is certainly an actress to keep an eye on as she delivers another great performance. QUENTIN Much like Barbarian , which has been referenced incessantly in the marketing (“from the creators of Barbarian ”), Companion is a great “the less you know, the better” movie that is sharp, slick, incisive, surprisingly funny, and a thrilling social commentary on perceived gender roles. It probably hits even harder given what is happening in the United States right now. It’s admittedly not overly original — I could rattle off at least a dozen movies that have touched on similar themes — but it’s a witty breath of fresh air in an overplayed genre. It’s hard to believe a movie this good was dropped in January. NICK Although I wish the marketing didn't give things away, Companion is more than just the sum of its twists. In his directorial debut, Drew Hancock infuses this horror-tinged love story with the right amount of laughs and thrills to keep things moving at a breakneck speed while the entertaining cast does their thing. Jack Quaid and Sophie Thatcher (both of whom seem to be having a moment) show off their range as they play off each other through a gamut of genres that will only enhance their rise. Even the side characters (Harvey Guillén's Eli, especially) leave their mark. A real buzzer-beater to salvage January.