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MARCEL THE SHELL WITH SHOES ON Starring: Jenny Slate, Dean Fleischer-Camp, and Isabella Rossellini Director: Dean Fleischer-Camp AMARÚ Director/co-writer Dean Fleischer-Camp and co-writer/lead Jenny Slate have created something honest, moving, and introspective with Marcel the Shell with Shoes On . It prudently demonstrates that no matter how small we may feel within the grand scheme, our community and courage allows us the capacity to persevere through change, grief, and growth. Slate breathes energetic life into the hilariously sassy and delightful Marcel, a character deserving of consideration amongst movie history’s upper echelon. His relationship with Dean (portraying himself) and Grandma Connie (the remarkable Isabella Rossellini) taught life lessons I’ll carry with me for quite some time. NICK A24's stop-motion venture Marcel the Shell with Shoes On is a delight. It’s got the feel good energy of an episode of Ted Lasso and charm coming from every corner. It’s also surprisingly funny…like, laugh-out-loud-in-the-theatre funny. A big reason the film works so well is Jenny Slate. Her portrayal of Marcel is innocent and childlike, yet oddly mature in the way he views daily life. It’s the kind of film that sets an example, and the world would be a better place if more people looked at it through the lens of Marcel. What a treat. JACOB One of the year’s purest delights, Marcel the Shell with Shoes On finds A24 continuing their 2022 streak of pushing their most outlandish films to their absolute creative limit. Adapted from his own YouTube short films of the same name, Dean Fleischer-Camp’s narrative feature debut is a triumph of ingenuity, making great use of its premise to tell a story full of laughs and brimming with heart. Jenny Slate once more excels as the voice of the titular shell, and while the film may not blow one away, the emotional undercurrent of it makes for an unusually serene experience. PAIGE Creators Dean Fleischer-Camp and Jenny Slate have cracked the code of making this early 2010s sensation into one of the sweetest, most endearing movies of the year. Simply put, A24 has struck gold with Marcel the Shell with Shoes On . This film will remind you to appreciate all the little things in life, to love big, and to inhale a bit of fresh air. Good things really do come in small packages because this gem is heartwarming and entertaining for all. I hope you all are ready for a talking shell with shoes on to make you cry.

CUCKOO Starring: Hunter Schafer, Jan Bluthardt, Márton Csókás, Jessica Henwick, and Dan Stevens Director: Tilman Singer PAIGE With its piercing sound design and deranged approach to storytelling, Cuckoo has the style of an 1980s Italian horror film. The director, Tilman Singer, does a fantastic job behind the camera by gradually escalating the suspense and tension throughout the movie. However, despite the ambitious and eerie tone, this slow-moving horror film suffers from an overly complex and unclear narrative. Once the second act begins, the plot just kind of goes off the deep end, leaving the story disjointed. That said, even if it didn't completely land for me, Cuckoo is a strange and unique experience that some people might enjoy. QUENTIN I give Hunter Schafer and Dan Stevens credit for making this garbled movie somewhat watchable because, despite their performances and a decent atmosphere of mysterious what-the-fuckery, Cuckoo doesn’t haven’t much going for it. The tone is an absolute mess, flip-flopping between self-serious horror and campy comedy — being generally unsuccessful at both — while the story has no desire to truly let viewers in on what is happening until some lazy throwaway exposition towards the end. Then there is the sound design. I’ve often criticized comedians (*cough* Leslie Jones *cough*) for relying on the “it’s funny because I’m loud” schtick. Apparently, “it’s scary because it’s loud” is erroneously a thing too. ADRIANO Cuckoo , if nothing else, shows that Hunter Schafer has the same star power and leading lady charm that her Euphoria co-stars have demonstrated over the past couple of years. Sadly, the movie's writing and pacing are utter rubbish. The tone of the film is all over the place; sometimes it's silly, sometimes it's dead serious, and sometimes the film abandons any tension it sets up for a more action-y vibe. In addition to that, the concept is total nonsense, barely doing anything to explain what's going on. Come to Cuckoo for Schafer, but not much else. PRESTON Hunter Schafer does a fantastic job in her acting task, demonstrating a capable range of emotions and nearly carrying Cuckoo single-handedly. However, although there are some interesting elements within the story, I am unsure what the mysterious “monsters” really are, which leaves me feeling unfulfilled. There also are some funny elements without a commitment to being a full-on campy horror film mixed with some serious moments between characters that make you wonder why they are even connecting. Overall, it presents an interesting concept that goes a little scatter-brained. Also, why is Márton Csókás even in the film? SHADAN I’m recommending Cuckoo solely on the strength of Hunter Schafer’s performance because I’m very impressed with what she has delivered in her first leading film role, and I hope she gets more opportunities to shine as a lead performer. I am also forever impressed by Dan Stevens’ drive to run away from his dashing good looks and commit to playing weird little freaks. Again, I hope for more in the future. Not much else about Cuckoo makes sense, though. There are surprises, but they are not pleasant. Still, I admire Cuckoo for its audaciousness, however poorly executed it may be. KATIE Cuckoo was one of the films I was most looking forward to this year due to the merits of its stars, Hunter Schafer and Dan Stevens, and horror-thriller premise. Fortunately, Schafer is incredible as Gretchen, and her performance has me anticipating her next leading role, while Stevens is clearly having a great time as an eccentric villain, doing the best he can with the material. However, the story becomes unnecessarily convoluted, and the tone jumps between silly and serious, which lessens the impact of the scares and hinders its momentum. Despite its flaws, Cuckoo offers enough intrigue to be worth a watch. This film was reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival.

THE EXORCIST: BELIEVER Starring: Leslie Odom Jr., Ann Dowd, Jennifer Nettles, Norbert Leo Butz, Lidya Jewett, Olivia O'Neill, and Ellen Burstyn Director: David Gordon Green NICK The Exorcist: Believer may have exhausted all the goodwill David Gordon Green and Danny McBride earned from Halloween . This unnecessary entry in The Exorcist franchise features straight-to-DVD-level camerawork and wastes the one interesting idea it offers. The connection between the girls could have been SOMETHING, but it’s never explored enough to make it necessary for the story. Also, unlike Jamie Lee Curtis' warranted return to the Halloween trilogy, Ellen Burstyn feels like a cheap gimmick here. I wasn’t expecting much, but I didn’t think the quality of Believer would be low enough to warrant canceling the rest of its planned trilogy. Well, it is. ADRIANO What makes The Exorcist such a classic isn't just how scary it is, but how it's really a character drama under the guise of a horror movie. I don't believe director/co-writer David Gordon Green understood that. His direct sequel The Exorcist: Believer is filled with cheap scares and characters that you never feel for, utterly failing at the two things the original mastered. Ellen Burstyn is there for fanfare and nothing else, and the movie has some baffling editing choices. And this is supposed to be the start of a trilogy? Consider me checked out already. PHILL Fifty years ago, The Exorcist made cinematic history when Regan (Linda Blair) terrified audiences around the world under the late, great William Friedkin’s masterful direction. David Gordon Green’s legacy sequel, The Exorcist: Believer , isn’t completely terrible, but it pales in comparison to the original classic, while adding nothing of interest that you haven’t seen before, other than there being two possessions instead of one. There is clearly a deep respect and affinity for Friedkin’s masterwork, but that doesn’t prevent Believer from being a poorly paced, bland addition to an already dead franchise. KATIE The Exorcist: Believer just about succeeds as a horror film, but fails as a direct sequel to The Exorcist . It’s at its worst when directly engaging with the source material, wasting Ellen Burstyn’s return as Chris MacNeil, using a disappointing amount of bad CGI effects, and reminding me of the original’s superiority. However, I did think the jump scares were fun, and Lidya Jewette and Olivia O'Neil give great performances (I’d have loved if the film delved deeper into their relationship). I cannot fathom how this would warrant a sequel, but Believer works best as a frivolous fright night flick.

BABYLON Starring: Margot Robbie, Diego Calva, Brad Pitt, Jean Smart, Jovan Adepo, and Li Jun Li Director: Damien Chazelle NICK I've never been on drugs, but I'm fairly certain that the cinematic experience of Babylon is what a heavy trip feels like. This thing is wild. From the opening scene, it kicks into high gear and stays on that track for over three hours. The cast is stacked too, with a few performances worthy of awards consideration (Margot Robbie, in particular, is excellent). Director Damien Chazelle may have made yet another film about dreamers, but this one is easily his most chaotic, which really works in the film’s favour. Babylon fires on all cylinders, and is another dynamite addition to Chazelle's already impressive resume. ADRIANO Babylon is a lot. Writer/director Damien Chazelle attempts to do way too much, which leaves some of the results being underbaked. Even with a 3-hour runtime, interesting key characters and themes don’t feel completely fleshed out, leaving the film feeling bloated. However, on a technical aspect, I have no notes for Chazelle. The atmosphere is debaucherous and energetic, led to perfection by Diego Calva and Margot Robbie, and the absurdity never feels like it’s extreme for the sake of being extreme. Instead, it contributes to the film’s message regarding the beauty and, most importantly, the ugliness of Hollywood. AMARÚ Babylon is three hours of unfiltered, unfettered chaos, but it’s the quiet moments that are the loudest. Margot Robbie, Brad Pitt, and Diego Calva all command the screen, but it’s Li Jun Li and Jovan Adepo that command your attention. Director Damien Chazelle crafted a decadent, outrageous, and hilariously exorbitant love letter to the magic and mayhem of Hollywood, but it’s one of the final shots on a singular face that will mean the most to movie lovers. Come for the crazy, stay for the silence, but whatever you connect to, just sit back and let it wash over you. JTE Babylon wants to be a kinetic, drug-fueled ride through Old Hollywood, but, instead, it's a lifeless and empty 3-hour drag. Director Damien Chazelle attempts a film in the vein of Martin Scorsese's The Wolf of Wall Street or Paul Thomas Anderson's Boogie Nights , but the thing that made those films so successful was the characters that inhabited the intoxicating nights and heightened debauchery. However, in Babylon , I didn't care for any of the characters, with each one feeling like a boring stereotype. I could see where their story was going within the first 15 minutes of the film. DARRYL Babylon as a whole feels like an empty affair. Though technically dazzling, director Damien Chazelle’s impressive cinematography and production design aren’t enough to cover what is essentially a run-of-the-mill Old Hollywood story with little new to add. The opening scenes of depravity and debauchery start the film with a jolt of energy before losing momentum in the second act, ending with a heavy-handed montage dedicated to the power of cinema. At three hours, it’s a roller-coaster ride of a movie, and for better or for worse, Babylon feels its length, which will leave some viewers in a state of confusion as the credits roll. JACOB Damien Chazelle’s Babylon may be his most ambitious, daring, and passionate movie to date, and whether it’s stronger or weaker than his other films should be of little consequence to those who manage to make it to the credits. The first half is a cacophonous hurricane of sex, sound, and pure energy, while the second half is about the slow but steady demise of stardom, yet Margot Robbie and Diego Calva carry it all the way to the finish. Linus Sandgren’s cinematography delights in the long shot, and Justin Hurwitz’ mammoth score (specifically “Voodoo Mama”) may be the best piece of music I’ve heard this year.

BULL RUN Starring: Chris Diamantopoulos, Tom Blyth, Ashwin Gore, Helena Mattsson, Alyshia Ochse, Troy Garity, Zach Villa, and Jordyn Denning Director: Alfredo Barrios Jr. KATIE Bull Run is an unbearably obnoxious film. The protagonist speaks directly to the camera in a manner that is clearly trying to replicate The Wolf of Wall Street, but it's as jarring as the rest of the editing. It constantly cuts to sequences of random stock footage-looking images and clips to emphasise particular points, doing so recklessly and seemingly without significance. Scenes are randomly intercut with cross-fades and repeated shots, annoying sound effects, and a distracting, bassy kind of soundtrack. I didn’t care about any of the characters or the story, and at only 100 minutes, I felt bored quickly. AMARÚ While Bull Run could have been nothing more than a cheap knockoff of The Wolf of Wall Street , director Alfredo Barrios Jr., star Tom Blyth, and a game ensemble use breakneck pacing, an infectious score, and the playfully jargon-filled screenplay to make something all its own. Smashing their foot on the pedal allows the cast to speed-talk through charming dialogues and monologues, have fun with not-too-vulgar schemes, and keep audiences engaged even if we can’t keep up with every interweaving plotline. Ultimately feeling more like Office Space than The Wolf of Wall Street , Bull Run is a surprisingly fun little film.

F1: THE MOVIE Starring: Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, and Javier Bardem Director: Joseph Kosinski QUENTIN Just so you know, I saw F1 on the world's largest IMAX screen, and I have no doubt that bumped my rating by at least a half reel. Watching the incredibly done racing sequences on a 127-foot by 69-foot screen with 12-channel digital surround sound created a fantastically immersive experience. However, outside of that and Brad Pitt's natural charisma, everything else left me wanting. Simply put, the story is generic, and it doesn’t do enough to make one invested between the in-car action. It’s certainly a lot of fun on the big screen, but I don’t think that will translate to the small one. AMARÚ F1 writers Ehren Kruger and Joseph Kosinski (who also directed) knew the film didn’t need to do anything special with its story because sticking to the sports movie magic formula generates blockbuster entertainment all on its own. So, they tapped cinematographer Claudio Miranda’s spectacular in-car camera work to create genuine thrills during its recognizable, yet still heart-pounding races, Brad Pitt and Damson Idris’ respectively established and up-and-coming star-power to connect you to somewhat thin characters, and Kerry Condon and Javier Bardem as the lovable cherries on top. F1 doesn’t break any molds; but really, did it ever have to? ADRIANO F1 will give you the highs you expect out of blockbuster sports dramas. Director Joseph Kosinski does an incredible job of making the racing sequences feel vibrant and pulse-pounding. There's an inherently easy-to-root-for plot, which for most people, is exactly what you’d want. The story is conventional, which isn't instantly bad, but because the entertaining characters are forgettable, the entire experience feels a lot like a sugar high: in the moment, a ton of fun, but once that moment is over, it's just over. It feels fleeting, but that doesn't erase the successful thrills F1 produced. BODE It’s no surprise that director Joseph Kosinski would continue to follow in Tony Scott’s footsteps after Top Gun: Maverick , as in re-teaming with much of Maverick ’s creative team, he crafts his own Days of Thunder with F1 . This time though, the heights are inconsistent. The racing sequences are truly exhilarating, and its cast is certainly likeable (put Kerry Condon in everything, please). But there isn’t enough shading to its narrative foundation or characterization, making it hard to fully invest in the drama - especially at nearly three hours. It’s fine enough as a piece of escapism, but it could’ve been more.

FERRARI Starring: Adam Driver, Penélope Cruz, Shailene Woodley, Gabriel Leone, and Patrick Dempsey Director: Michael Mann QUENTIN While not a bad movie by any means, Ferrari never makes a case to justify its existence. Yes, from a craft perspective, it’s obviously very well done, from Michael Mann’s direction to the performances of Adam Driver and Penélope Cruz; however, the main story is about a man that isn’t particularly interesting. Enzo Ferrari (Driver) is never shown to be a ruthless tyrant, a savvy businessman, or a brilliant car designer. He’s just a dude who has marital problems. Ferrari is only truly compelling during the too few race sequences, which are beautiful and picturesque (two scenes in particular elicited audible gasps from the audience). AMARÚ Ferrari looks and sounds epic much like an opera looks and sounds epic. It’s loud, boisterous, and passionate. Yet, since I inherently don’t understand the words, the emotional impact doesn’t hit as hard as it should. I’m not saying I couldn’t understand the dialogue (though some of the accents are a bit off-putting, honestly), but many of the conversations feel like grand opuses with empty importance. I could feel Penélope Cruz’s bubbling rage. I could feel Adam Driver’s cold determination. I could feel the race car engines’ roar in my bones. But will I remember the point of that fervor tomorrow? Probably not. ADRIANO Director Michael Mann is back with Ferrari , and the result is an exciting thrill ride through a mixed bag. Adam Driver and especially Penélope Cruz shine bright; however, from an emotional angle, though the film tries its best, it mostly lacks any real connection. Overall, I found that the narrative struggled in the beginning (and it's worth pointing out that Shailene Woodley is terrible), but thankfully, I was invested enough in the story in the second half to be engaged. The pacing is well constructed and entertaining too, which is enough for this ride to be a worthwhile one. PRESTON I was so excited for Ferrari , but alas…*sigh*. While it isn’t anywhere near the bottom of 2023 releases, it certainly isn’t at the top either. With Penélope Cruz’ performance as the highlight (Adam Driver is a close second), there is little else to praise. Issues included…*deep breath*…bad and inconsistent accents, unexciting racing scenes, a completely unfocused script, I had no idea who half of the characters were, and the pacing is so wonky that it made the film feel twice as long as it really is…*exhale*. Basically, this one drives right up the middle of the road. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

I USED TO BE FUNNY Starring: Rachel Sennott, Olga Petsa, Sabrina Jalees, Caleb Hearon, Ennis Esmer, and Jason Jones Director: Ally Pankiw PAIGE I Used to Be Funny is a devastatingly funny movie that deftly finds the right mix between comedy and melancholy. It manages to capture the highs and lows of overcoming a terrible experience with its use of flashbacks and flashforwards to offer its audience more insight into the lives of these characters. This movie isn’t afraid to utilize humor in grim situations, and all of this is possible because writer/director Ally Pankiw gave her actors, Rachel Sennott and Olga Petsa in particular, the freedom to feel real and empathetic. KATIE I Used to Be Funny is one of the most honest and authentic depictions of the impact of sexual trauma that I’ve ever seen. Considering the dark subject matter, the tone is sharply funny and satirical in a very timely way, yet does not undercut the protagonist's struggle and is deeply empathetic and compassionate. The way the narrative explores the past and present highlights how the aftermath of these experiences can fundamentally change a person, and Rachel Sennott masterfully balances comedy and the sharp wit she is known for with pained smiles and a deep vulnerability.

NO TIME TO DIE Starring: Daniel Craig, Léa Seydoux, Rami Malek, Lashana Lynch, Ralph Fiennes, Ben Whishaw, Naomie Harris, Rory Kinnear, Jeffrey Wright, Billy Magnussen, Ana de Armas, and Christoph Waltz Director: Cary Joji Fukunaga NICK No Time to Die may not be the best film of the Daniel Craig-Bond era, but it’s easily his most layered performance as the titular character. After introducing connective tissue in Quantum of Solace , this film wraps up a five-film arc and does so with finesse and poise. Léa Seydoux, Ana de Armas and Lashana Lynch bring out each side of Bond, while there is no shortage of action beats, including some fantastic car chases. It's a fitting send off for Craig, who will go down as one of the best Bonds of all time, an accolade well earned. AMARÚ The connective tissue between Spectre and No Time to Die may lose you at the start given how forgettable Spectre is, but once it moves on, everything that is great about James Bond kicks into high gear. Slick action, the right amount of (corny) humor, and charisma dripping from every actor (Ana de Armas and Lashana Lynch, especially). The runtime flies with intense cat-and-mouse games between intelligence agencies until a more conventional third act can no longer hide its uninspired villain (Rami Malek is wasted) and unfathomably indestructible hero. Still, the odd-numbered Daniel Craig-Bonds are now 3-for-3. QUENTIN Daniel Craig’s time as James Bond has ranged from eh to excellent, but never because Craig made a great or terrible Bond. He's been perfectly fine, though somewhat uncharismatic. It really lived and died with the direction and writing. That said, the overlong Bond 25 is generally well directed, but falters with the writing. The opening action sequence is fantastic, but the plot gets super convoluted with unclear character motivations, while the action mostly devolves into uninspired gunfights. I appreciate that it gives a proper ending to Craig’s Bond era, but it's a distant third behind Casino Royale and Skyfall . JACOB Although No Time to Die never really gets around to justifying its length, there's never a moment that feels dull or too slow. Daniel Craig’s final outing as Bond is more emotional than one might expect, but also funnier than anticipated, even if not all the comic bits land. Linus Sandgren's excellent cinematography brings some beautiful imagery to the screen, and the fantastic action sequences really stand out. Rami Malek is a menacing villain, although he's not quite in the movie enough to count among the greats, but what this film really needed was more Ana de Armas. ADRIANO Daniel Craig’s send-off as James Bond is near perfection. Not only is it very stylish and badass, but also emotionally satisfying. The action is epic too, with director Cary Joji Fukunaga crushing every car chase and shootout. The story, featuring heavy global and personal stakes, as well as a wickedly good villain played by Rami Malek, more than justifies the film's lengthy runtime. My only gripe is that Ana de Armas is unfortunately very underused. That aside, No Time to Die is an excellent Bond movie.

LAND OF BAD Starring: Liam Hemsworth, Russell Crowe, Milo Ventimiglia, Ricky Whittle, Luke Hemsworth, and Chika Ikogwe Director: William Eubank PRESTON I felt like I visited my own grammatically inept Land of Bad during my viewing of this Aussie-led, American war story. Shit gets blown up…so that’s cool. But, otherwise, you are in for a soulless action flick that is chock full of plot holes. Those with any military Special Operations knowledge should beware because you will have some difficulty dealing with the avoidable inconsistencies and the ridiculousness that is Russell Crowe as active duty Captain Eddie “Reaper” Grimm. I will say that I appreciated a story from a JTAC- unique perspective, but this should have been a straight-to-streaming release. NICK I don’t know how studios decide which films should hit the big screen and which to send to streaming, but the decision to release Land of Bad theatrically was a misfire. This is exactly the kind of film destined to bomb at the theatre only to find a second life when it hits Amazon Prime or Netflix, because it’s not bad! Liam Hemsworth is serviceable, yet unspectacular in the lead role, Russell Crowe chews on each minute of his screen time, and there’s a healthy dose of explosions. Is it particularly memorable? No. But it’s bound to satisfy your action flick appetite.

THE GREEN KNIGHT Starring: Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Ineson, Sean Harris, Kate Dickie, Barry Keoghan, Erin Kellyman Director: David Lowery JACOB A bit overlong, though never without justification, David Lowery's The Green Knight is a stunner of the highest caliber. An epic that is always centered on the personal, there's nothing in fantasy quite like it. Lowery's camera moves with patience and precision, capturing both the intimate and the enormous, while the story is anchored by a perfect leading performance from the increasingly impressive Dev Patel and phenomenal voice work from Ralph Ineson. The cinematography is magnificent, but refuses to overshadow the film's most impressive feat - sincere faithfulness to unconventional source material bolstered by fantastic production design and makeup technique. QUENTIN Although a tad long and a bit slow at parts, The Green Knight boasts such beautifully dreamlike visuals and arresting cinematography that it’s easy to get swept up in this unconventional take on the Arthurian legend. On top of that, Dev Patel is superb, grounding the more fantastical elements with his quiet humanity. Fair or not, it’s the first time I’ve seen a Patel performance and didn’t think “oh, it’s the kid from Slumdog Millionaire .” The film isn’t a 100% faithful adaptation, which may annoy purists, but it’s still one of my favorite movies of the year.

HUSTLE Starring: Adam Sandler, Juancho Hernangomez, Queen Latifah, Ben Foster, Anthony Edwards, Kenny Smith, Robert Duvall, María Botto, and Jordan Hull Director: Jeremiah Zagar QUENTIN Just because Hustle isn’t reinventing the wheel - it’s basically Basketball Rocky - doesn’t mean that it isn’t a damn fine sports drama. It hits all the required beats of being inspirational and heartfelt, but wraps them in an authenticity and sincerity that elevates even the most predictable elements. Adam Sandler’s love for basketball is palpable in his performance, which is maybe the most natural of his career, and his easy chemistry with Juancho Hernangomez is remarkable. Flat out, Hustle is one of the best sports movies I’ve seen in probably a decade and the best basketball movie I’ve seen in who knows how long. AMARÚ Hustle is a feel good sports movie that may not rank as an upper echelon underdog story, but it will have you cheering nonetheless. Adam Sandler’s passion for the game is evident, looking like he just walked in from one of his viral pick-up games, three-month old beard and all, while mixing his comedic stylings with some dramatic intensity. However, he never strays too far in either direction. Juancho Hernangomez’s performance is surprisingly believable, and NBA star Anthony Edwards revels as the villainous rival. The NBA’s hands are all over this, sanctioning tons of roles and cameos, altogether making Hustle a journey to root for. JACOB The film itself never quite gets above average in its storytelling, but Hustle remains worth exploring for viewers, even if it’s only for its two leading performances. Not everything excels, but almost everything works. Adam Sandler’s career resurgence appears to be in full swing post-Uncut Gems , but while the titan of industry shows no signs of slowing down, his co-lead Juancho Hernangomez is hot on his heels. With enough real-world cameos to make it feel like Endgame for NBA fans, this film is still a showcase for the young star, and he puts on a damn good show. JOSEPH Hustle is definitely a sports film for sports fans, particularly basketball lovers, and it feels like a passion project that was crafted with love. At times, things feel tropey and familiar, with some clear homages to Rocky popping up, but the sharp, fast-paced editing makes for an exciting watch. Plus, Adam Sandler is an immediate Oscar contender for Best Actor, giving a performance that will easily go down as one of his best. As someone who doesn’t care for sports, I found my interest waning at parts, but I have to say, objectively, Hustle is one of the best sports films of all time. ADRIANO If you’re looking for something new, you won’t find it in Hustle . Thankfully, it’s so endearing and easy to fall for that I can forgive the film for that. Adam Sandler, once again, proves he’s a tremendous dramatic actor. His love of basketball is apparent, as this might be the most natural and least chaotic Sandler has ever been, and Juancho Hernangomez also gives an incredible performance in his acting debut. The film is extremely well edited and is clearly made with love and passion, which makes it hard not to get sucked into.