HELLCAT Starring: Dakota Gorman, Todd Terry, Liz Atwater, and James Austin Johnson Director: Brock Bodell This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival. NICK Although Hellcat is a noticeably lower budget production, it makes up for that with its twisty storytelling. What starts off as an abduction thriller, soon reveals itself as more than meets the eye, especially as you learn these characters’ motivations. For a film so heavily focused on its characters, I would have liked to see some stronger performances (nothing stands out either positively or negatively), but the strength of the story was enough to keep me invested. At times it’s like an extended episode of Are You Afraid of the Dark? or Goosebumps , but for my first film of Fantasia, I can't complain too much. QUENTIN More than any other genre, chamber pieces only go as far as the characters and plotting will take you because those aspects are so front and center. There is no extra fluff to hide behind if those two things don’t work. So, since neither are particularly compelling in Hellcat , the movie falters. It attempts a scenario similar to 10 Cloverfield Lane , in which you don’t know who to believe, but the story isn’t balanced well enough to make the viewer invested in either side, a problem furthered by the bland characterizations. This ultimately results in a final reveal that generates shrugs more than anything else.

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

PLACE OF BONES Starring: Heather Graham, Tom Hopper, Corin Nemec, Brielle Robillard, Donald Cerrone, and Gattlin Griffith Director: Audrey Cummings PRESTON Place of Bones is a western pseudo-thriller starring the lovely Heather Graham. Jam-packed with western tropes and completely devoid of interesting dialogue, let’s just say that this film has some…issues. The combination of troublesome pacing and some surprisingly awful acting makes the film difficult to recommend, but there is a final act reveal that alleviates a small portion of the pain you endure to get there. Perhaps if you imagine you are in the audience of a stage play, where the plot is revealed rather dramatically through unveiled dialogue, you might salvage a tolerable experience. QUENTIN Oof, what a terrible movie. Terrible acting on top of terrible dialogue on top of a terribly paced story on top of terribly done western tropes on top of a terrible, out-of-nowhere reveal that is laughably ridiculous. Also, how does Heather Graham keep getting lead roles? I used to think it was because she was willing to do things other actresses might not be keen on (read: nudity), but apparently that wasn’t the case here, so how the…? The only joy I got from watching this was recognizing Corin Nemec, who I haven’t seen on screen since Parker Lewis Can’t Lose . Otherwise, just tip-to-tail terribleness. This film was reviewed by Quentin and Preston as part of Bitesize Breakdown's coverage of the 2024 Canadian Film Fest.

NOBODY 2 Starring: Bob Odenkirk, Connie Nielsen, Christopher Lloyd, John Ortiz, RZA, Colin Hanks, Daniel Bernhardt, Gage Munroe, Paisley Cadorath, Colin Salmon, and Sharon Stone Director: Timo Tjahjanto NICK If you liked Nobody , I can’t see how you would dislike Nobody 2 . Although it doesn’t reach the heights of John Wick — or even something more tonally similar like Fight or Flight — Nobody 2 is still an upgrade on the original. The action is on point, and Bob Odenkirk wonderfully infuses this action hero with his own comic sensibilities. Plus, the supporting cast, particularly the women (including a delightfully cartoony Sharon Stone), fill out the story around him well. Two films in, I can’t say I love the Nobody franchise, but I have no qualms in seeing Hutch (Odenkirk) back in action. AMARÚ You can’t help but want to root for Bob Odenkirk, and while Nobody was a surprise hit out of nowhere, Nobody 2 surprises you with how much you care for the Mansells (Odenkirk, et al) family drama. There’s a surprising heart, especially with Odenkirk and Connie Nielsen’s chemistry, that allows the camp and action to blend into the exact amount of fun and awesomeness you want in this sequel. Add in Colin Hanks and Sharon Stone understanding their silly assignments, and the perfect cherry on top that is RZA, and bong bong… you've got a helluva good time. ROBERT In 2021, Nobody was a decent hit with its theatrical run happening amidst the pandemic. It didn’t set itself up directly for a sequel, but considering Hutch (Bob Odenkirk) was back in the saddle as a government operative, it could still trade on its fun action for more films. Nobody 2 doesn’t do anything to expand the story, but it does involve the family more in the fight scenes, and it ups the body count with more creative kills. Sharon Stone is unhinged and it’s sick, but emotional pathos and writing take a backseat to a fun, albeit derivative, second ride with the Mansell family. ADRIANO Nobody is a film I love and consider to be a modern action gem, but I'm sad to say that Nobody 2 doesn't reach those heights. It's not awful, mind you. Bob Odenkirk is still a lot of fun, toeing the line between serious and silly wonderfully; however, the substance it tries to provide regarding burnout and generational trauma is lacking. The action hits at times, but director Timo Tjahjanto mostly traded the bone-crunching, closeup brutality for big explosions, which is just less effective. I'm certainly disappointed, but I'd be lying if I said I wouldn't watch another one of these.

HAPPY GILMORE 2 Starring: Adam Sandler, Julie Bowen, Christopher McDonald, Benny Safdie, Maxwell Jacob Friedman, Philip Schneider, Ethan Cutkosky, Conor Sherry, Sunny Sandler, John Daly, Benito Antonio Martinez Ocasio, Haley Joel Osment, and Ben Stiller Director: Kyle Newacheck NICK It’s no surprise that Adam Sandler (known for featuring his friends and family in his films) can still bring sincerity into his trademark comedies. But Happy Gilmore 2 is infused with more heart than we’ve seen from him since the underrated Click , nearly 20 years ago. Unfortunately, some of the other “mores” don’t work as well. The film is far more vibrant than the original, to the point it sticks out, and there are just too many cameos. Yes some hit, but they’re unnecessary since the core themes surrounding family and the love letter to golf are all that’s needed to make this one work. ROBERT If you had all the money in the world and could give jobs to your wife, kids, and all your friends and their family, wouldn’t you? Watching Happy Gilmore 2 , that is what I imagine was the impetus for its existence. Previous Adam Sandler comedies were always quirky and goofy with outlandish characters, but they were buoyed by a modicum of heart and likeability, and this film sorely lacked that tether. It mostly felt like meeting contractual Netflix obligations with a hint of nostalgia; even Ted Sarandos’ daughter is in it. A funny joke will land here and there, but this is the definition of superfluous. AMARÚ Maybe it’s a win to say there are small victories in Happy Gilmore 2 , starting with the clear joy everybody and their momma had making this legacy sequel. And when I say everybody, I mean EVERYBODY is in this movie. That joy manifested some chuckles out of the hundreds of call backs and cameos. But those tiny positives barely dragged me to the end of a movie with a horrible inciting incident, tons of unfunny end-of-scene stingers, and head-scratching goofball scenarios. So is it worse when Adam Sandler films are outright bad, or when there’s heart and misplaced hope amongst the trash? You decide that one. QUENTIN All things considered, including the overall quality of Adam Sandler’s direct-to-Netflix catalog and the typical success (or lack thereof) of decades-later sequels to classics that no one really asked for, Happy Gilmore 2 is about as good as it could be. Yeah, it’s little more than a forced, nostalgia-driven cameo parade of callbacks (complete with clips to remind you exactly what they are calling back too), but for those of us who saw the original in our formative teen years, there is enough heart to carry the day (or at least two hours, anyway) and enough charm to let one overlook the very obvious flaws. KATIE I don’t relish writing this as someone who really likes Happy Gilmore and Adam Sandler’s earlier comedies in general, but Happy Gilmore 2 may be one of the worst films I’ve ever seen. Aside from the mind-numbingly stupid story, terrible dialogue, and the fact it's offensively unfunny, the worst thing is that it’s just soulless. It lacks anything that would suggest anyone who made it cared about anything other than making money in the laziest way possible, and the reliance on nostalgia and onslaught of cameos only adds insult to injury. I wish it were better, but it just didn’t work for me. ADRIANO The charm of Happy Gilmore is the acknowledgement that it's not very good, but Adam Sandler's sensibilities make it one of the most quotable comedies ever. With Happy Gilmore 2 , some of that is there, but not enough to save the film's instant reversal of the first film’s course and a nonsensical "new golf" narrative. Worst of all, the movie desperately needs to remind you of what you liked about the original, even shoving clips of the first film in your face to a degree that would make The Final Reckoning roll its eyes. Yet even with all that, it could've been worse… I suppose. BODE Even if Adam Sandler’s longtime Netflix deal has yielded more bad than good, I still greatly anticipated Happy Gilmore 2 . Yes, it’s out of my love for the original, but I was genuinely curious to see how Happy (Sandler) fits in a new era. The answer gave me more than I expected. On one hand, it’s overlong and chockfull of lazy nostalgia. On the other, I laughed more than I thought I would, and much of the film’s surprising self-reflection of life and death admittedly got to me. This isn’t great cinema, but for what it is, it passes the time reasonably.

THE FALL GUY Starring: Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Winston Duke, Hannah Waddingham, and Stephanie Hsu Director: David Leitch ADRIANO The Fall Guy is an actual love letter to cinema and movie-making that has so much respect for the stuntpeople and crew on the set of a film. It's also a ton of fun. Granted, there absolutely are moments when the film has serious momentum problems, and the crime plot takes a second to make much sense; however, when it works, namely when Ryan Gosling is able to be his charming self and during the film's romantic and action beats, it hits hard while making you laugh in the process. I certainly have my issues with it, but it's also something I'm glad I watched. QUENTIN When you try to do as much as The Fall Guy …which is a comedy, throwback actioner, mystery, and more…you’re bound to not stick every single landing. That said, first and foremost, this is a love story and a love letter — hell, a love manifesto — to stuntmen. It doesn’t matter if a few jokes lack spark, or if an action sequence or two lack excitement; as soon as one of those aspects falters even the tiniest bit, Ryan Gosling and Emily Blunt’s chemistry and the total stuntmen reverence picks up the pieces to create an extremely fun ride that will only get better with repeat viewings. NICK Considering it had solid word-of-mouth from SXSW and stars Ryan Gosling (who is always reliable in action comedies), The Fall Guy failed to wow me. I enjoyed it, yes, but whether it is the chemistry between Gosling and Emily Blunt, the satirical elements, or the jokes within, things never reach the heights they should have. There is some fun to be had — particularly in the visual gags — but I was hoping for another gem I’d want to revisit again and again (much like The Nice Guys ). Alas, this just isn’t it. AMARÚ Never thought I’d see a cheesy rom-com wrapped up in an action film, but director David Leitch delivered just that with The Fall Guy . Ryan Gosling and Emily Blunt have tremendous chemistry, carrying the epic action and meta camp to perfection, even with a too-on-the-nose script and bloated runtime. But through all that, I don’t think there was a time where I didn’t notice a huge smile on my face. From the winks at the camera to the love for the industry’s most undervalued MVPs, The Fall Guy delivers a nonstop blast to kick off the summer season. PAIGE As expected, the action sequences and Ryan Gosling's charisma are what drive every second of The Fall Guy . Even though it’s a little long-winded at times, this movie is incredibly delightful and entertaining from beginning to end. This action-packed comedy features a fantastic soundtrack, plenty of laughs, and dynamite thrills. Although the overall story is a tad bit weak, there is so much fun to be had with it, and it does a good job of delivering its message about the value of stunt performers, the unsung heroes of the film industry. KATIE The Fall Guy is a fun, if slightly overlong, action-comedy romance that is driven by Ryan Gosling’s effortless charm and the fantastic chemistry between him and Emily Blunt. The plot and script are secondary to the film’s central aim, which is simply to entertain and draw focus on the rapport between the stars, and I was happy to switch off for two hours and enjoy. The film features thrilling stunt work and a reverence for the profession, underscoring what stunt people risk whenever they set foot on set, with plenty of action-packed spectacle. PRESTON The Fall Guy is probably the most relaxed viewing I’ve had this year. I knew it was going to be good with leading stars, Ryan Gosling and Emily Blunt, taking the reins, and they didn't disappoint. It took me about an hour to realize that the numerous stunts were being semi-forced into the film, but they are added in a (mostly) seamless way that gives the stunt crew the much-deserved spotlight. There is a little goofiness to the script, but it serves to show just how much fun the entire cast must have had together.

THE SURRENDER Starring: Colby Minifie, Kate Burton, Vaughn Armstrong, Riley Rose Critchlow, Mia Ellis, Chelsea Alden, Pete Ploszek, Alaina Pollack, and Neil Sandilands Director: Julia Max KATIE Julia Max’s debut feature is a terrifying and heartbreaking story about the inevitability of confronting grief. Max employs deeply unsettling visuals, gory practical effects, and simple yet effective scares to explore the horrors of losing those closest to you, driven by Colby Minifie and Kate Burton’s incredible performances. They manage to portray the complexities and frustrations that are unique to mother-daughter relationships, and their authentic performances make the morbid banalities of providing care and grieving relatable and moving. Max refuses to assign blame or explain the ambiguous final act, but this speaks to the film’s nuanced exploration of its themes. ROBERT The best movies are those that can shrink down universal themes to relate to anyone on a meaningful, microscopic level, and The Surrender manages that beautifully. Caring for a sick family member can be as daunting and harrowing as anything, but to string that out beyond death to discuss family dynamics and strained relationships in the context of a genre film is impressive. You find yourself questioning if your perceptions of your parents or kids are real or carefully curated, that situations derived from memory might play out strongly in your mind but might’ve looked completely different from another perspective. The Surrender is thought-provoking, gut-wrenching, and terrifying.

THE PIANO LESSON Starring: Samuel L. Jackson, John David Washington, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith, Danielle Deadwyler, and Corey Hawkins Director: Malcolm Washington NICK What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers , Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue! ADRIANO The Piano Lesson sports an incredible ensemble of actors giving it their all, especially Danielle Deadwyler, who carries the movie every time she's on screen. Sadly, that ensemble is the film's brightest spot because, overall, I found the film to be pretty messy. It isn't awful, and unlike previous August Wilson adaptations (Fences and Ma Rainey's Black Bottom ), director Malcolm Washington gives this more liveliness than a stagey feel. However, its themes of legacy and family are so lost in the film's many subplots that once the film reached its resolution, I didn't feel anything. AMARÚ The Piano Lesson is an actor’s showcase that puts director Malcolm Washington’s visual eye on full display in his feature debut. His intimate use of lighting and framing takes another August Wilson play that slightly suffers from being acts put to screen instead of a cinematic screenplay, and keeps your eyes fully focused on the talent relaying those lines. Its strong themes of legacy, history, and family are carried by a forceful ensemble and a chilling score, and even though I watched a play inside a television set, I also saw great actors do what they do. That alone was worth the watch. KATIE I was not surprised to learn that The Piano Lesson is an adaptation of a play since it’s very stagey without feeling cinematic. I was painfully aware that it takes place in a singular setting, which was exacerbated by the uneven pacing, misplaced score, and many lengthy monologues. I find that John David Washington usually lacks emotional range, but here he is almost too animated, especially compared to the other, more grounded yet impactful performances. Together with the many competing subplots, The Piano Lesson succeeds in showcasing some great actors, but it failed to grip me in any meaningful way. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HAVOC Starring: Tom Hardy, Jessie Mei Li, Justin Cornwell, Quelin Sepulveda, Forest Whitaker, Yeo Yann Yann, Timothy Olyphant, Sunny Pang, Jim Caesar, and Luis Guzmán Director: Gareth Evans NICK Violent. Visceral. Brutal. Bloodbath. These are just a few of the words that come to mind for Gareth Evans' Havoc . The Raid director shows once again that he can make an action film as good as anyone, only this time he does so in English. Tom Hardy is back in the ass-kicking lead role that he thrives in, particularly in two dynamic set pieces bound to be among the best of the year. It’s a shame this one is skipping a theatrical release because it’s pure turn-your-brain-off-and-lock-in mayhem that would’ve surely been a crowd-pleaser. AMARÚ Gareth Evans can direct the hell out of some action scenes, but his gritty and realistic Raid series has been ingrained in my brain for so long that I was thrown off by Havoc ’s opening CGI-looking sequence. Once I saw how Tom Hardy's and Forest Whitaker’s over-the-top performances matched Evans’ high-octane action, however, I recalibrated my thinking. I sat and watched a very fun crime film with a lot of enjoyable actors playing in a bloody sandbox. It was hard to accept how such a merciless film allowed certain characters to survive miracles, but I said “fuck it” and went along for the ride. KATIE Havoc lives up to its name in the worst possible way because it’s guilty of everything that bothers me about modern action films. Most of the action is indecipherable thanks to the ridiculously shaky camera, constant quick cuts, and far too much reliance on CGI. None of the characters the film follows should have survived. At times, they’re literally showered in bullets, but emerge unscathed; then suddenly appear in random settings with no indication of how they got there, which removes any sense of tension or stakes. Havoc is just a few decent action scenes that are thoughtlessly stitched together. QUENTIN When a movie is sold as the first action thriller in a decade from the director of The Raid – starring Tom Hardy, Timothy Olyphant, and Puerto Rican treasure Luis Guzmán – an expectation is set. Sadly, despite visceral action and a chaos befitting the title, Havoc is more exhausting than fun. It’s the loudest and worst parts of the John Wick movies, but minus the creativity (one harpoon aside) and, dare I say, the subtlety. It’s a lot of machine-gun noise and stereotypical archetypes, which I loved in the 90s, but have apparently outgrown. There are badass moments, no doubt. But they don’t make a great movie. ROBERT If you ever wondered what it would be like if Eddie Brock knew gun-fu, then Havoc is the movie for you. Seriously, when Tom Hardy has an American accent, it feels as if quality starts at a lower threshold. There were vestiges of Smokin’ Aces and S.W.A.T. in this film but I didn’t have as much fun with it. It seemed like every person needed at least six bullets before they could be dispatched, and globular blood flew up toward the camera every five minutes. Also, the visual effects were jarring with each action set piece. I expected a better time. BODE The last Max Payne video game was released over a decade ago, but the scuzzy spirit of that series lives on in the form of Gareth Evans’ latest actioner, Havoc – from its wintery setting to its haunted detective antihero (who Tom Hardy embodies, East Coast accent and all). As expected from The Raid director, the action sequences are incredibly exhilarating, with each one bloodier than the last. I just wish the human drama didn’t needlessly convolute itself in its set up, ultimately seeming like an afterthought. Still, because Evans hasn’t lost his violent touch, I really can’t write this off.

THE BEAST Starring: Léa Seydoux, George MacKay, Guslagie Malanda, and Dasha Nekrasova Director: Bertrand Bonello QUENTIN The Beast is the type of film that the snootiest of film critics will call a “must see” while regular people find themselves bored out of their minds. It’s big on ideas and, I suppose, it has decent performances, but it’s extremely lifeless, failing to truly engage the audience due to its somewhat confusing and labyrinthine story. It has elements of Eternal Sunshine of the Spotless Mind , Black Mirror , and classic French romance films, but they never coalesce into something worthy of the effort it takes to fully get on board. It’s not unlike a David Lynch movie in that regard. PAIGE If Eternal Sunshine of the Spotless Mind and Cloud Atlas had a baby, it would be The Beast . This bizarre yet intriguing sci-fi-like epic warns of the fear of falling in love through the lens of these characters' entangled past lives. Despite a runtime that certainly overstays its welcome, Léa Seydoux and George MacKay deliver understated performances that deserve to be praised, and while some plot points don’t resolve in a satisfying way, the core ideal to live in the moment, not carry the weight of the past, and not to worry too much about the future is something that we all should take to heart. This film was reviewed by Quentin and Paige as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival and the 2023 New York Film Festival, respectively.

STRUNG Starring: Chloe Bailey, Lynn Whitfield, Anna Diop, Lucien Laviscount, Coco Jones, and Romy Woods Director: Malcolm D. Lee AMARÚ When you cast Lynn Whitfield and Anna Diop, you know you’re going to get some mysterious and messy stuff. Strung is shot with an ethereal quality to highlight those mystically thriller vibes, but it’s tonally all over the place due to some massively goofy decisions. From weird music cues to horribly inconsistent dialogue and character decisions, this soap opera does Chloe Bailey no favors as she tries to navigate a new(ish) acting career. This is one big slightly-better-than-bad soap opera. But then again, when you have Ms. Whitfield, it’ll never be flat-out bad. ROBERT If you take a sprinkle of Soul , a dash of The Perfection , mix in a generous helping of The Housemaid , you get Strung . The movie wanted to be Get Out so badly, I could sense it closing its eyes, gritting its teeth, and attempting to level up like an anime character. Unfortunately, it ended up only reaching its final streamer-level form. I give credit that the “erotic” segment of its erotic thriller categorization did really work for me, but everything else was disjointed and poorly executed to where I knew the ending with fifty minutes remaining. Follow your intuition and perhaps peruse Peacock for alternatives.

CASSANDRO Starring: Gael García Bernal, Roberta Colindrez, Perla De La Rosa, Joaquín Cosío, Raúl Castillo, Benito Antonio Martínez Ocasio, and El Hijo del Santo Director: Roger Ross Williams AMARÚ Gael García Bernal is a revelation as the titular character in Cassandro . He’s a mesmerizing figure you can’t keep your eyes off, carrying the film’s seemingly purposeful impromptu qualities with unwavering charisma. Like the underground lucha libre matches Cassandro starts with, the movie feels grimy and urgent, with messages too important not to get right the first time. Its pacing, fight choreography, and Creed -like score embody the hunger that Bernal infuses in his portrayal of the real-life trailblazer. Cassandro , the film and the performance, is an intimate portrait of perseverance and personal awakening that is truly captivating. CALEB There’s a lot to love about Cassandro , but I think it could’ve packed more of a punch. I’m all for subtlety, but the film feels too restrained for such an eccentric character. The quiet, intimate moments are executed beautifully, but the ring-side action is consistently underwhelming. The cinematography during these sequences feels distant and static, failing to match the exciting physicality of Gael García Bernal’s performance. There’s no denying that this is a great story, but I wish it was told with more of the signature flair that Cassandro (Bernal) brought to the sport. PHILL Cassandro is filled with moments that should be awe-inspiring and uplifting, but it often fails to leave an impact in the ring, hurt far too often by a cyclic, bland score that seriously hinders several key scenes. The biopic of Saúl Armendáriz (Gael García Bernal) isn’t a complete disaster, but it does feel rushed and undercooked, with too many character actions being inconsequential to the plot because the story structure lacks focus and breathing room. However, dressed in impeccable costume design, Bernal carries Cassandro in a genuinely endearing and exceptional performance, encapsulating everything fabulous about the “Liberace of Lucha Libre.”