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RENFIELD Starring: Nicolas Cage, Nicholas Hoult, Awkwafina, Ben Schwartz, and Shohreh Aghdashloo Director: Chris McKay NICK Let's start with the good: Nicolas Cage is endlessly watchable as he takes a bite out of every scene as Dracula, while Nicholas Hoult continues to show off his impressive range. Plus, there are some gruesome kills that are sure to entertain. That's about it for the good. Renfield is filled with an array of plot holes, cliché side stories, a grating Awkwafina performance, and a generally goofy tone. Even though it's seemingly aware of how ridiculous it is and has some fun with it (unlike Cocaine Bear ), it’s just not enough to make up for its flaws. An average film at best. QUENTIN While the story may be a little lacking, especially the weak mob angle that is made even worse by revolving around Awkwafina, Renfield is still a lot of fun thanks to the hilariously violent fight scenes and, of course, Nic Cage, who is clearly relishing the opportunity to play Dracula. Even with my personal Cage bias acknowledged, he is flat-out terrific here, often eliciting laughs from nothing more than a facial expression. Don’t get me wrong, Nicholas Hoult is great too, but Cage is the reason to see Renfield , a Halloween-themed cousin to Violent Night that is sure to be an annual rewatch every October. ADRIANO If you can entertain the hell out of me, even the dumbest movies can get a pass. I can’t say that’s the case with Renfield . I love the undying commitment from Nicolas Cage as a maddening, narcissistic Dracula, but he wasn’t enough for me. If it had stayed focused on the codependent relationship plot, it could have been interesting; however, the detour into a crime plot didn’t interest me enough, and the jokes had way too many misses for me to care. Not even Nicolas Cage could give this film enough life for a passing grade. JACOB There is some fun to be had in Renfield , namely in its two lead performances and one pretty kick-ass apartment terrace scene, but that fun is hampered by a fairly so-so script with awkward tonal shifts and distorted scene geography in almost every other action sequence. Nicholas Hoult is good but underserved, whereas Nicolas Cage may be one of the best on-screen Draculas ever despite being thoroughly underused. And with the addition of two subplots that are never as entertaining or interesting as they clearly want to be, the film can never quite find its footing enough to stand.

JOY RIDE Starring: Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu, and Ronny Chieng Director: Adele Lim NICK The trailers for Joy Ride showed me that I was in store for a comedy along the lines of Bridesmaids , The Hangover , and Girls Trip , so I was expecting laughs (which came often). What I wasn't expecting was the level of heart in this story. Its focus on culture, family, and what it means to belong elevates the material, as do the performances of the central cast. The group dynamic is great, but it's the individual relationships they have within that really shine. Comedy has had a rough go of things recently, so it’s a pleasure to see a film like this put it all together. JACOB A raunchy ride, through and through, with a sincere beating heart, Joy Ride is an absolute goddamn delight and easily one of the funniest movies of the year to date. It doesn’t always navigate the conversation of personal identity in terms of immigration, international adoption, or racism in the most nuanced terms, but apart from that, there’s very little to dislike here. The starring foursome have terrific chemistry, with Sabrina Wu’s Deadeye being a scene-stealing standout, and some of its more emotional moments really pack a punch. It plays out more or less how one would expect, but the journey is 100% worth it. ADRIANO Joy Ride is, pun intended, one hell of a ride. It made me laugh like most comedies aren’t able to these days, which is to say consistently. Part of what makes it so funny, beyond the sharp and raunchy writing, of course, is the unrelenting commitment from Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu. All four of them had me rolling for the longest time, until the film slows down and takes a turn to tug at the heartstrings as its themes of friendship and cultural identity come to fruition. Suffice to say, I loved this movie. AMARÚ Joy Ride is a breath of fresh air that uniquely carves its own lane amongst the slew of 21st century R-rated comedies. Director Adele Lim not only roots the story in Asian culture, but also in the reality that women are as raunchy as their male counterparts. Focusing on themes of identity and belonging while simultaneously delivering intelligently dirty humor lets the main foursome (Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu) play in a hilarious and heartfelt sandbox. They leave you laughing, crying, and hoping for more uproarious shenanigans with them in the future. QUENTIN While I can see why some will find Joy Ride hilariously raunchy, I spent my 20s enjoying arguably the heyday of the R-rated comedy. So, everything here feels done before: the athlete cameo and oddball tagalong (The Hangover ), the traveling plotline (Eurotrip , Road Trip ), the mismatched friends who blame each other for their problems (Superbad ), the women’s camaraderie (Bridesmaids , Girls Trip ), a “WAP” rap sequence (SNL Digital Shorts), and so on. The only fresh aspect is the Asian dynamic, but it mostly just allows for lazy racial jokes (white people like Friends ?! No way!). Maybe I’m just desensitized and have seen too many comedies, but meh… PAIGE Joy Ride is a brash, raunchy, and hilarious movie that very much has its own identity. While the film is definitely full of shock value moments and jokes that can be hit or miss, the majority of them land like a slap in the face, so you’ll be laughing your ass off the entire runtime. But where the film shines the most isn’t from its jokes, but from its heart, which comes from the beaming ensemble cast. Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu’s chemistry is exceptional, and I’d totally be down for a sequel with Brownie Tuesday.

OH, HI Starring: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, and David Cross Director: Sophie Brooks KATIE Oh, Hi! is a charming rom-com with a hilariously dark twist. Starting as a dreamy romance, it takes an unexpected turn that works a lot better than I expected. It doesn’t waste a minute of its tight 94-minute runtime, all of the jokes land, and it's consistently funny. Logan Lerman is great and effectively supports Molly Gordon’s hilarious and heartfelt performance, and the pair have convincing chemistry. One of my few criticisms, and it isn't the film’s fault, is that I wish I hadn’t watched the trailer, as it would be even better to be surprised by it. AMARÚ Oh, Hi! is exhibit-A that the current state of movie trailers needs to revert back to not giving away too much. Going in blind had me locked into this seemingly straightforward two-hander between Logan Lerman and Molly Gordon, waiting for what would happen next. Their chemistry is natural, and the comedy, while not always laugh-out-loud funny, highlights the leads’ likability. And when shit keeps unraveling, the strength of their understated charm makes the exaggerated relationship conflicts much more relatable. This film gets weird, and edges toward shark-jumping, but the comedy-of-errors keeps the story amusingly in check. NICK Don’t get me wrong, the crazy ex-girlfriend story can be a good watch, especially when the whole thing takes place in relative real time, but I wanted to have more fun with Oh, Hi! Although Molly Gordon gives a committed performance as Iris and is tasked with carrying the majority of the film, the humour didn’t match the absurdity of the situation. Admittedly, my opinion is skewed because I just watched a very similar film, albeit with a different tone, but the wacky vibe this thing was going for just wasn’t realized for me. This started strong but just couldn’t keep its momentum. BODE It seems cliché to call Oh, Hi! a rom-com riff on Misery , but co-writer/director Sophie Brooks invites the comparison at almost every turn, right down to Molly Gordon’s charmingly unhinged performance (which owes a bit to Kathy Bates, via her own admission). And though it tries to use that framework to comment on the contradictions of modern dating, the approach feels rather one-note, and strangely lacking in momentum. It has some moments of wit, and the cast is animated enough. Overall though, I get the feeling Oh, Hi! might’ve benefitted more as a short rather than a full-length feature.

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.

STRANGE WORLD Starring: Jake Gyllenhaal, Jaboukie Young-White, Dennis Quaid, Gabrielle Union, and Lucy Liu Directors: Don Hall and Qui Nguyen NICK Strange World is one of the quieter Disney releases in some time, and I really can't decipher why. While it doesn't have the emotional weight of a Pixar offering, it's a competently told story that utilizes some slick animation and wonderful creature designs. It also just makes you feel good. There's an optimism sprinkled throughout the film, thanks in large part to the character of Ethan (the first openly LGBTQ character in Disney animation, voiced by Jaboukie Young-White) and what he stands for. Overall, Strange World may not make you cry, but it takes you on a magical journey, one well-suited for children too. JACOB Though its first act is overly rushed and sloppily edited, Strange World remains a good time at the movies, if only for its third-act-revelation that makes it one of Disney animation’s more bizarre reveals of late. There’s not much that stands out about it on a micro level, and it misses a wealth of opportunities to go deeper with its themes, but the journey still features a lot of fun, especially for kids. The creature design is terrifically weird, which makes up for thin characterization, and some of the animation itself is beautiful to look at too.

LIFT Starring: Kevin Hart, Gugu Mbatha-Raw, Vincent D’Onofrio, Billy Magnussen, Jacob Batalon, and Jean Reno Director: F. Gary Gray QUENTIN You know, it doesn’t take a lot for a heist movie to get a passing grade from me, but goodness gracious, it’s not like Lift even tried. Between the terrible CGI, uninspired characters, flat humor, and poorly done trope after poorly done trope, not even my unashamed bias for all things heisty could get me to engage with this thing. If this movie is good for anything, it’s as something to be shown at Kevin Hart’s Netflix intervention: “Look, Kev, we respect your hustle and work ethic, but stop making these terrible Netflix movies. You’re hurting yourself and those around you. Have some respect for yourself.” AMARÚ You have Vincent D’Onofrio, Gugu Mbatha-Raw, Billy Magnussen, Jacob Batalon, Jean Reno, and Kevin Hart in a heist film directed by F. Gary Gray. That is the biggest layup ever for a fun-ass time; all you gotta do is write some semblance of coherence. But noooooo, Lift was apparently written for TikTok. It throws every single heist trope (both comedic and dramatic) at the wall with no logical progression, and tries to cover it up with cool music, flashy action, “lovable” characters, and fast-paced direction. Lift is just a poorly constructed shell enclosing the cast and crew’s obvious paychecks. PRESTON Lift is director F. Gary Gray’s latest release, and Kevin Hart’s most recent Netflix offering. How else can I describe Lift ? Well… imagine watching The Italian Job , but instead of being good…it isn’t. Don’t get me wrong, the cinematography and style are decent, and reminiscent of many good heist movies. The problem seems to lie in writing that produces utterly flat dialogue that the actors don’t even know how to deal with. Any attempt at injected charm falls short, the jokes don’t land, and the “tense” moments are the only times you want to laugh. To quote Liar, Liar , “I’ve had better.”

CHALLENGERS Starring: Zendaya, Josh O’Connor, and Mike Faist Director: Luca Guadagnino ADRIANO Have you ever watched a movie, then walked out of the theatre with a sudden burst of energy? That was me after Challengers , a film so electric that I found myself unblinkingly enthralled. Director Luca Guadagnino threw every crazy idea at the screen, and while there are some misses, the ones that hit are too entertaining to watch. With the bizarre sexual chemistry between the three leads at the forefront, Challengers is a brilliantly thought-out and complex tennis match of psychological warfare that barely ever lets up, and I'd be surprised if it didn't remain one of the year's best come December. QUENTIN Despite what the trailers advertised, Challengers surprisingly is a semi-bore that isn’t very sexy or exciting, featuring thinly drawn characters, an unsatisfying ending that doesn’t align with the shallow story that preceded it, and an abundance of blatant product placement (I mean…Applebees?). Plus, director Luca Guadagnino clearly is in try-too-hard mode, using a non-linear structure that hurts the movie’s pacing and plotting, slow-motion sweat drips galore, and “tennis ball cam.” It wasn’t until the final ten minutes that I leaned forward in my seat with enthusiasm, which is too late in the game. Admittedly, the score rips and the performances are great, but overall? Fault, Guadagnino. PAIGE In tennis terms, Challengers is an ace. Sparkling with energy, this commercial arthouse film features an electrifying score by Trent Reznor and Atticus Ross, a deft editing style with clever framework, and three fantastic and palpable performances by Zendaya, Mike Faist, and Josh O'Connor. With tennis as its backdrop, this exquisite character study on passion and desire demonstrates the drive and dedication needed to maintain a relationship. With that said, director Luca Guadagnino serves up a fierce and intimate drama packed with pulse-pounding tension on and off the court. KATIE Challengers is absurdly exciting and sexy, with a show-stopping performance from Zendaya, who is absolutely dripping in star quality and alluring charisma. The trio at the centre of the drama have magnetic chemistry, and all their interactions feel like an intense match of witty dialogue and erotic tension. A throbbing techno soundtrack by Trent Reznor & Atticus Ross injects a bolt of adrenaline into every moment, heightening the rhythmic quality of the games and intensity of the verbal altercations. Challengers kept me entertained and on my toes throughout, further solidifying Zendaya as our next true movie star. CALEB With Challengers , director Luca Guadagnino has cemented himself as one of the boldest, most exciting filmmakers of our generation. It’s a confident, sexy tennis drama with more style than you can shake a racket at. From the pulse-pounding EDM score to the unbelievable camera tricks, every element of this film feels inspired. Mike Faist and Josh O’Connor make for excellent rivals, and Zendaya’s subdued but fierce performance caught me off-guard in the best way possible. It’s rare that a movie has me on the edge of my seat, but the last ten minutes of Challengers had me in a chokehold. This one deserves all the hype. PRESTON Challengers does little to enhance my enthusiasm for tennis, and it shows what extremes must be taken in order to coerce the audience into feeling emotionally invested enough to feel the tension in the final act. Director Luca Guadagnino creates a misleading love story with tennis-like, back-and-forth storytelling that is more distracting than riveting. The over-the-top sexiness of its marketing ploy doesn’t deliver either, although some innovative camerawork and the overall sound do make up for many shortcomings. Zendaya shines, as expected, in a film that definitely fits more into the realm of “challenger” than Pro Tour. AMARÚ There’s a palpable energy throughout Challengers that initially clashed with director Luca Guadagnino’s jerky pacing and risked the opening act grinding the film to a screeching halt. But as the movie progressed and the volley of chemistry between Zendaya (a capital S, Star), Mike Faist, and Josh O’Connor ramped up, there was no denying the pulsating groove that kept building and building to a satisfying finish. Add in a great use of POV shots, slow-motion, and a titillating Trent Reznor/Atticus Ross score to make you as hot and bothered as possible, and you get the sexiest and most captivating film of the year.

ORPHAN: FIRST KILL Starring: Isabelle Fuhrmann, Julia Stiles, Rossif Sutherland, Matthew Finlan, and Hiro Kanagawa Director: William Brent Bell NICK When you have a moderately well-received film that is memorable mostly for its twist ending, it’s a no-brainer to release a prequel to that film 13 years later, right? Yes, it’s fun to watch Isabelle Fuhrman step back into the role of Esther (which she does seamlessly), and director William Brent Bell doesn’t shy away from the camp; however, the problem is that once the nostalgia wears off, you’re left with an overlong film featuring a miscast Julia Stiles that doesn’t add much to the Orphan mythos. "Unnecessary" seems to be the best word to describe Orphan: First Kill . JOSEPH It’s a bold move to follow up a film like Orphan with a prequel 13 years later, so, honestly, Orphan: First Kill shouldn’t work. It surprisingly does though, even incorporating new twists to deepen Esther’s (Isabelle Fuhrman) lore. Fuhrman does a great job reprising the character, while Julia Stiles gets to show a side rarely seen from her. Overall, it’s a wild and tense ride that is more about the journey than the destination, yet every bit as messed up as its predecessor. Orphan: First Kill is sure to please fans of the original.

INTO THE WONDERWOODS Starring: Dario Hardouin-Spurio, José Garcia, Prune Bozo, Yolande Moreau, and Philippe Katerine Directors: Alexis Ducord and Vincent Paronnaud QUENTIN Truth be told, I don’t watch a ton of animated movies. It’s not that I don’t enjoy them, per se, but so many of them are unabashed toy commercials aimed at children. There is no real weight behind the storytelling, and it’s hard to tell which ones are worth my time. Enter Into the Wonderwoods , a charming and delightful spin on Alice in Wonderland that features beautiful and varied animation, as well as a surprisingly emotive score. I admit it’s a small sample size, but it’s one of the better animated movies not named Spider-Verse that I’ve seen in a while. AMARÚ Into the Wonderwoods is an ultimate trek into your inner child, using multiple animation styles to wander through the vast imagination of our adventurous protagonist Angelo (Dario Hardouin-Spurio). Its myriad of quirky characters and locales feels like Terry Gilliam made a kids version of The Adventures of Baron Munchausen . Many of its weird bits are just the right amount of offbeat, while others are too unorthodox or trippy to be interesting (particularly a pedestrian villain slapped amongst much more fascinating characters), but following our young hero through his wondrous journey provides enough heart to care how this tale ends. PAIGE Into the Wonderwoods is a straightforward, yet endearing movie that unexpectedly moved me. Despite a few superfluous subplots that take away from the primary theme, the general storyline of the film is powerful enough to leave an impression on its viewers and serve as a reminder of the importance of how imagination can help one deal with life's challenges. In addition, the use of alternating 2D and 3D animation styles to depict our protagonist Angelo's (Dario Hardouin-Spurio) journey between his fantasies and the real world really impressed me. All in all, the heart of this French film is in the right place. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival.

BORDERLANDS Starring: Cate Blanchett, Ariana Greenblatt, Kevin Hart, Jamie Lee Curtis, Florian Munteanu, Edgar Ramírez, and Jack Black Director: Eli Roth NICK Knowing relatively nothing about the game, I can only speak on Borderlands as a film, and as a film, it’s truly terrible. The decision to turn this IP into a PG-13 affair has completely castrated it of the violence the game is known for – something even more perplexing since Eli Roth directed it – while the story feels like a mish-mash of better movies. Even the “surprises” can be seen coming a mile away. I wish I could at least say good things about the performances, but everyone is woefully miscast, and the chemistry within the team is non-existent. Borderlands is a complete and utter misfire. ADRIANO Have you ever watched a movie so bad that it retroactively ruined your day? That's Borderlands . I have no relationship with the games, but judging the film on its own merit, it's visually bland, emotionally empty, and hilariously cliché. And you might be thinking, "that's ok, as long as it's fun." There is nothing fun about this movie. It’s not at all funny, and the action is boring. The ensemble doesn’t have any chemistry with each other, and for a game franchise known for its hyper-mature rating, this movie is toned down to suspicious degrees. It’s a shitshow in every way. AMARÚ Watching Borderlands must feel like what Cate Blanchett and Jamie Lee Curtis felt having to do one for “them.” Seriously, I watched it so none of you have to, but if you must… here’s my tip for not walking out of the theater like the one other person in my showing: zone out through the sci-fi clichés and video-game-checkpoint Macguffins until Blanchett does something cool, Kevin Hart says something funny, or one percent of Jack Black’s lines makes you smirk. Too bad none of that happens. I did laugh hysterically when they used that one song from Twilight’s baseball scene, though. There is that.

IN A VIOLENT NATURE Starring: Ry Barrett Director: Chris Nash PAIGE In A Violent Nature is a lean, mean, killing-machine slasher that is akin to a dissection of a Friday the 13th film. While most horror flicks employ tension and shock value to create suspense, this slasher eliminates such elements in favor of a more minimalist and gruesome approach. It’s honestly like watching a wild animal hunt for its prey. Despite its simplicity and slow pacing, having the movie told primarily from the killer's point of view allows it to deliver a fresh perspective on the slasher genre. NICK I can see what director Chris Nash was going for with In A Violent Nature ; it just didn’t work for me. This slow moving, minimalist horror puts you into the shoes of the killer in an all too realistic portrayal. There’s no soundtrack, no score, and a lot of walking. All these aspects may have worked if not for the film’s inability to create any tension whatsoever, leaving the proceedings to just, sort of, go through the motions. Even with one of the gnarliest kills I’ve seen on film, Nature still adds up to a relatively boring film. KATIE Director Chris Nash manages to find originality in an incredibly oversaturated horror subgenre whilst honouring the tropes that characterise my favourite slasher films. In A Violent Nature takes a brutally realistic approach, with restrained pacing and a compelling art house touch. Whilst some may find the periods we spend with the protagonist patiently stalking his victims slowly-paced, these were my favourite parts of the film. With no non-diegetic sound, the film utilises ambient noise and natural lighting beautifully to draw all focus to the killer’s instinctual march towards his victims, creating a unique and distinctive viewing experience. PRESTON God-awful. There is little to redeem what now qualifies as the worst film I have seen this year. In A Violent Nature can surely only appeal to the truly, most dedicated, B-horror slasher aficionados and the most forgiving of movie nerds. There is some uniqueness in its approach, especially with a couple long single-shot takes, but most of this means enduring about eight true miles of the back of the killer’s head on his excruciatingly slow walk-about. There is no redeeming score to build any kind of tension, the acting is atrocious, and the dialogue is laughable. No, spank-you!

THE BRUTALIST Starring: Adrien Brody, Felicity Jones, Guy Pearce, Joe Alwyn, Stacy Martin, Isaac De Bankolé, Alessandro Nivola, Jonathan Hyde, and Raffey Cassidy Director: Brady Corbet ADRIANO The mere existence of The Brutalist is something to be amazed with. Writer/director Brady Corbet's three-and-a-half-hour epic harkens back to the likes of films such as Lawrence of Arabia and The Godfather , a grand, multi-decade journey that shows us just how wonderful and ugly the “American Dream” can be, told through a breathtaking performance from Adrien Brody. With its jaw-dropping score, magnificent 70mm cinematography, and script featuring dialogue and circumstances so interesting that it made its long runtime fly by, I imagine The Brutalist will be examined for years to come. NICK Let's get this out of the way, did The Brutalist need to be nearly four hours long? No. Did that runtime hurt the film overall? Yes. Although the first half is well paced, the second half moves in a different direction and loses momentum. I was invested in Adrien Brody's László and his architectural journey, but when the focus moved to more of the family drama, there was a disconnect leading to a bloated latter half. That said, the performances are stellar - including a career best showing from Brody - and the immigrant experience is well explored. It just didn’t need to take so long. AMARÚ The Brutalist is a gigantic film, not in its scale or scope, but in its storytelling. Director Brady Corbet takes comfort in his cast, letting scenes linger on their dialogue to fall deeper into their characters, placing us right in the middle of Laszlo Toth’s (Adrien Brody) flight from his war-torn country. Brody, Felicity Jones, and Guy Pearce fill every frame with authentic emotion, Daniel Blumberg’s score is resounding, and Corbet’s direction makes a three-and-a-half-hour film feel like two by treating something as banal as the construction of a building with such reverence that what is important to one man becomes importance to us all. QUENTIN Despite grand direction, a tremendous score, and some very good (if not great) performances, The Brutalist is broadly undermined by a self-indulgent, 215-minute runtime full of grim story beats without much depth, an unrelenting parade of monochromatic misery for hollow characters. At no point was I given a reason to care about László’s (Adrien Brody) journey, other than the film insisting I should, which ironically conflicts with the film’s final line: “no matter what the others try and sell you, it is the destination, not the journey.” Nothing presented made me care about the destination, either. Still, I can’t say I don’t respect it. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.