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.

FIXED Starring: Adam Devine, Kathryn Hahn, Idris Elba, Beck Bennett, Bobby Moynihan, and Fred Armisen Director: Genndy Tartakovsky NICK Known for his work on Cartoon Network, director Genndy Tartakovsky’s latest is a provocative adult animated feature in the vein of Sausage Party and it’s… something. Despite its incredibly raunchy nature and the cavalcade of unnecessary buttholes, I wasn’t offended, I just didn’t find it particularly funny. It’s not crude without purpose, as there’s an underlying story featuring themes of love and acceptance, but the vulgarity doesn’t enhance the story. The voice cast is solid and is highlighted by Idris Elba's portrayal of Rocco, but it doesn’t make up for the lack of laughs as humour is a quintessential ingredient to a good comedy. QUENTIN I like raunchy humor as much as the next guy, especially when animated since cartoons can provide an over-the-top absurdity that can’t be achieved with live action. That said, Fixed , which certainly provides the raunch, forgot about the humor part. When I was a pre-teen, I’m sure a dog talking about his balls for 90 minutes while constantly showing his starfish would have been the epitome of comedy, but I guess I’ve grown up. As it stands, Fixed is a mix of Strays and Sausage Party , built on little more than vulgarity for vulgarity’s sake. Forget about being neutered; this one should have been put down. BODE When it comes to Genndy Tartakovsky’s latest film Fixed , you’ll either be entertained by its perversity or completely turned off by it. Luckily for me, I happened to fall within the former category. While not every joke or visual gag lands, I laughed quite hard at the ones that did, and truly admired how far they were willing to go with some. It helps that the 2D animation is lovingly crafted, and its voice cast is quite spirited. To call Fixed one of Tartakovsky’s best efforts would be a lie, but for what it is, it’s a fun romp. PAIGE Fixed is a ballsy animated film that surprisingly comes from writer/director Genndy Tartakovsky, the man who brought us the Hotel Transylvania films. While this movie has a fun and clever premise, it would’ve worked far better as a short. With a runtime of 86 minutes, its raunchy humor grows tiring rather quickly. I’m no prude, but this movie relies heavily on nothing but sex jokes and foul language. Its only real redeeming quality is the great hand-drawn 2D animation, and not even that is enough to save it. Ultimately, this movie is dog shit. ROBERT Did you ever watch Ren and Stimpy and think how it could be improved with swearing and lewd innuendos? If so, Fixed is definitely for you. It’s a total 1990s-2000s vibes movie, from the Cartoon Network animation style to the iPod circa 2005 musical cues. The premise is reminiscent of a flashback sequence from The Simpsons with Santa’s Little Helper getting one last night of partying before he goes under the knife. The voice cast is inspired, featuring actors with plenty of recent comedic voiceover work; however, unlike prestige animated films, this will mostly just make you feel uncomfortable through suggestive behavior. This film has been reviewed by Quentin, Nick, and Bode as part of Bitesize Breakdown's coverage of the 2025 Fantasia International Film Festival.

ENCANTO Starring: Stephanie Beatriz, Diane Guerrero, Wilmer Valderrama, Angie Cepeda, Rhenzy Feliz, Carolina Gaitan, Jessica Darrow, Adassa, María Cecilia Botero, Mauro Castillo, and John Leguizamo Directors: Jared Bush and Byron Howard JACOB Though not flawless, Encanto is a movie full of joy that families are sure to fall in love with. It bursts with life and color in every frame, and while the songs may not be Disney’s strongest lyrically, they’re all deeply infused with a Colombian energy worthy of the wonderful instrumentation throughout. The story itself takes a few narrative shortcuts at the film’s expense (namely in the third act) and it all wraps up a bit too neatly, but the ultra-detailed animation and fun characters make up for most of that. It would seem the Disney formula still makes magic. ADRIANO Simply speaking, I was delighted by every moment of Encanto . As per the case with most of Disney’s animated efforts, it’s gorgeously animated, it’s really funny, and it hits you directly in the feels. Lin-Manuel Miranda's original songs are both catchy and powerful, and they pair well with the film’s themes of family and self-worth, as well as the culture it’s representing. My only real gripe is that I had to see it in 3D, which I truly hate. Other than that, this movie is undeniably charming. NICK The recent focus on animated features delving into different cultural backgrounds has been refreshing, but doing so doesn’t guarantee a great film, which is evident here. Similar to Pixar's Onward , Encanto is just sort of there. It’s notes of Happy Feet with a magical twist, and that works fine. Unfortunately, in a year of musicals, most of the songs here are forgettable the moment they end. That is really what plagues this film overall… it just isn’t as memorable as its predecessors. The animation is gorgeous as expected, but otherwise this was a bit of a letdown.

THE KILLER'S GAME Starring: Dave Bautista, Sofia Boutella, Ben Kingsley, Terry Crews, and Pom Klementieff Director: J.J. Perry AMARÚ I tried to have fun with The Killer’s Game, and there is a bit to have with Dave Bautista and Sofia Boutella’s opposites attract chemistry; however, expanding their clashing tones to the entire movie just makes it a confusing mess. It can’t decide if it wants to be a stylishly outlandish assassin film or a semi-serious love story caught in the middle of a dangerous world. What we’re left with is Bautista and Boutella stiffly banking on their cute connection to hopefully compel audiences into accepting the purposeful use of every action cliche imaginable. It mostly isn’t convincing. PRESTON The Killer’s Game possesses an odd dichotomy of seriousness and campiness that fails to ever coalesce. Dave Bautista plays his role quite well, but with a weightiness that never fully embraces the intended silliness. It’s really too bad because it’s the campy aspects that carry the day, which, incidentally, take too long to introduce in the first place. Even with this dilemma, the film is still entertaining, and Bautista's badass “ground game” is also showcased, even if he’s a little stiff with the standup choreography. I would have been much higher on this had it been a straight-to-streaming option.

YOU PEOPLE Starring: Jonah Hill, Lauren London, Eddie Murphy, Julia Louis-Dreyfus, Sam Jay, Nia Long, and David Duchovny Director: Kenya Barris AMARÚ Lauren London and Jonah Hill are too cute together in You People for their story to be so underdeveloped. Instead of a full-fledged narrative, director Kenya Barris just strung together a loose collection of random rom-com scenes. Don’t get me wrong, I chuckled at Hill’s patented awkwardness and a toned-down Eddie Murphy (more at Eddie than Hill, though), but aside from an ending that’s much better realized than its lead up, this one had me reaching for something more. More cohesion. More Eddie being Eddie. More trust in London and Hill to carry a genuine story. But hey, it was cute, though. NICK The more I think about You People , the less I like it. It packages itself as a more unique story than it actually is while constantly contradicting itself. For example, Ezra (Jonah Hill) has a successful podcast about "The Culture," yet he's often portrayed as the white man who doesn't know black things. It's a joke that was already played out and is relied on far too heavily here. Still, there are some jokes that work and solid performances (Julia Louis-Dreyfus is perfectly cast), but avoiding stereotypes with Hill’s character by focusing on the dysfunction of the parents would have made for a better film. QUENTIN Although You People ends up exactly where you’d expect, it’s not without some laughs along the way. That said, mileage will vary on just how much you laugh because so many of the jokes and references require some level of insider knowledge. For example, if you don’t know much about Louis Farrakhan’s stance on Jewish people (I do), Drake’s discography (I don’t), or the name of a certain Jay-Z/Kanye collab (I do), those jokes fall completely flat. Also, director Kenya Barris’ music video-inspired, snapshots-of-LA scene transitions are overdone. Still, the performances mostly work, and the jokes that do land make for a decently entertaining watch. JOSEPH You People is the smartest, most straightforward rom-com I’ve seen in a long time. Following a Meet the Parents meets Guess Who’s Coming to Dinner premise, You People offers an earnest look at modern-day race relations. That being said, it never feels ridiculously heavy, instead using the comedy to lighten the very real issues the film brings up. The cast is phenomenal, and they had me laughing out loud multiple times, putting a smile on my face while also making me cringe. It’s smart and respectable, but most importantly, it’s entertaining. DARRYL You People survives mainly on the chemistry between Jonah Hill and Lauren London. Their scenes together, along with Hill's scenes with Sam Jay, make for the best romance and comedic elements of the film. Kenya Barris and Hill’s script is impressively balanced between great inside humor catered to the culture and clichéd and hammy dialogue. Plus, what could have made for a fresh update on 1967's Guess Who's Coming to Dinner instead opts for surface-level humor while leaning on Hill’s charm. Barris' direction is sharp and inventive, though, making for a great weeknight movie to watch with a significant other. PAIGE You People never really finds its footing with its narrative while also being staggeringly unfunny and filled with cringe-worthy dialogue to boot. It seems like Jonah Hill and director Kenya Barris, who co-wrote the film together, had good intentions with what they wanted to execute with this interracial rom-com, but it tries way too hard to be relevant. Hill’s self-deprecating charm is the only tolerable thing going for this feature, and overall, the film feels like a sloppy juggling act that ends up abandoning all of its heavy topics to just be a surface-level social satire.

EVIL DEAD RISE Starring: Lily Sullivan, Alyssa Sutherland, Gabrielle Echols, Morgan Davies, Nell Fisher, and Anna-Maree Thomas Director: Lee Cronin NICK Although I enjoyed the darker turn of 2013’s Evil Dead , this iteration feels much more in line with Sam Raimi’s vision. There’s a nice mix of horror and levity, and it’s all tied together with some seriously bloody kills. The story itself may be fairly basic, but director Lee Cronin makes the most of it with some creative decisions (ex: shooting scenes through the apartment peephole). It’s not overcomplicated, just a fun horror film to watch in a dark room. Most importantly, though there are callbacks to the franchise’s earlier efforts, it stands alone, making it accessible even to those uninitiated to the Evil Dead universe. ADRIANO I’m a fan of Sam Raimi’s Evil Dead franchise, and while Evil Dead Rise has the vibe of a basic supernatural horror, the commitment to the mayhem elevates it to an unadulterated delight. Director Lee Cronin mixes in Raimi’s style of camp, but in smaller portions, so it feels like a personal touch rather than a 90-minute homage. I have a high tolerance for gore, but this movie is so gnarly that there were moments when I had to turn away. I kinda wish the family stuff was better, but I still had a disturbingly good time. JACOB As a relative newcomer to the Evil Dead franchise, I wasn’t sure what to expect from Evil Dead Rise , but the more I sit with the film in my mind, the more I’d like to take the ride again. Noticeably imperfect but oh-so-in-tune with the spirit of the material, the film’s ultra-gory, low-camp style is perfect for a 90-minute slasher with some truly brutal sequences (an elevator scene stands out especially). I won’t say I loved it, but I had a damn good time, and if for nothing else, Lily Sullivan’s performance is a reason to go again.

FINGERNAILS Starring: Jessie Buckley, Riz Ahmed, Jeremy Allen White, and Annie Murphy Director: Christos Nikou NICK Not every story about love needs to be a love story, and that’s something Fingernails director Christos Nikou looks to explore. The notion of sacrificing one’s fingernail just to learn if one’s love is true is a great commentary on our need for reassurance and reliance on “the one.” Unfortunately, Nikou focuses on this with everyone except Anna (Jessie Buckley) and Ryan (Jeremy Allen White), the film’s lead relationship. The focus on these two is lacklustre, and you’re never really given a chance to invest in them, which dampens the introduction of Amir (Riz Ahmed), and in turn, his entire storyline. ADRIANO Fingernails has a great premise, but the film never lives up to it. A good chunk of the movie is fleshing out the central idea regarding this test that can calculate love, and because it spends so much time on that, the broader implications of what writer/director Christos Nikou is trying to say about the human desire to feel loved falls through the cracks. Not that this is a bad movie, as Jessie Buckley is as excellent as always and the ideas presented are good ones, but I wish it offered something more. PAIGE While Fingernails plays with an intriguing idea about the complications of love and relationships, it does it in such an introverted manner that it makes it hard to fall in love with the story. While original, this thought-provoking, lo-fi, sci-fi film, doesn’t have enough spark to stand on its own. It’s too simplistic and calm, leaving its screenplay to be the film's real heartbreak. Without the strong performances of Jessie Buckley, Riz Ahmed, and Jeremy Allen White, Fingernails would just feel like another generic rip-off of Yorgos Lanthimos’ The Lobster . CALEB The thesis behind Fingernails seems to be that love is complicated, and, well… yeah. I feel like anyone over the age of 20 probably already knew that. We’re all aware that relationships take work, and that love isn’t easily quantifiable. These seem like very surface-level observations. It’s a shame the film is this shallow because, at least on a technical level, it’s pretty well executed. The performances are good, the cinematography is great, and the music is beautiful. You can tell a lot of hard work went into making Fingernails ; I just wish it was in service of something a little more thought provoking. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

THE RIVALS OF AMZIAH KING Starring: Matthew McConaughey, Angelina LookingGlass, Scott Shepherd, Rob Morgan, Tony Revolori, Jake Horowitz, Owen Teague, Kurt Russell, and Cole Sprouse Director: Andrew Patterson NICK It’s impressive the amount of genres that director Andrew Patterson tries to fit into The Rivals of Amziah King . It’s even more impressive that he mostly succeeds in doing so. It certainly doesn’t hurt having an absolutely magnetic Matthew McConaughey as your lead, but even beyond him, the film itself is just so full of life. Some poorly executed editing aside, it’s hard to find issue with Patterson’s ambitious attempt here. Yes, it can come off a little messy at times, but it never feels disjointed. Add in one of the best soundtracks of the year and you’ve got a film that’ll stick with you. ADRIANO You can’t help but be impressed with the audacity of The Rivals of Amziah King . The form is writer/director Andrew Patterson’s focus, as this is an exercise in capturing seemingly every single genre; he plays with each of them with great attention to detail and great vibes too, especially in the first half. The inevitable downside of this experiment is an unavoidable messiness where even the coherent narrative beats feel aimless throughout. Still, Matthew McConaughey gives his best performance in years, and the music is kick-ass. This film has grown on me the further I get away from it. BODE Part bluegrass musical, part revenge thriller, and nearly everything else in between, it’s miraculous that a film like The Rivals of Amziah King exists in this day and age. It’s all the more miraculous that the damn thing works. Even if writer-director Andrew Patterson’s ambition may occasionally exceed his grasp, there’s so much love and energy brimming through this Southern-fried portrait of community and the fight to keep it thriving that it’s never not exhilarating to watch; especially with Matthew McConaughey giving his best performance in ages and a fantastic T Bone Burnett-produced soundtrack. This one is worth the buzz.

28 YEARS LATER Starring: Aaron Taylor-Johnson, Jodie Comer, Alfie Williams, Ralph Fiennes, and Edvin Ryding Director: Danny Boyle NICK In spite of becoming our resident zombie fan, I've never loved the 28 films. They're good, but they never blew me away. This most recent entry, however, really impressed me with its ambition. Director Danny Boyle has fit what feels like four films into one, all with tonal shifts, and managed to make it work. Although it can certainly be messy, that almost adds to the chaos of the world these characters inhabit. Boyle and writer Alex Garland have taken a dormant franchise, reinvigorated the universe and brought it back to life. Fitting for a zombie film, if you ask me. BODE Even when looking back, Danny Boyle is always looking forward. This was first evident in T2 Trainspotting (underrated), and is evident once more in 28 Years Later , which finds the director and returning screenwriter Alex Garland expanding upon their post-apocalyptic vision with bold formal swings not often seen in mainstream filmmaking (courtesy of cinematographer Anthony Dod Mantle and editor Jon Harris), humanism so sweeping you’ll be tearing up, great performances (Alfie Williams especially holds his own amongst a cast of veterans), and a chaotically beautiful score from first-time composers Young Fathers. It’s a major reinvigoration in nearly every way. ADRIANO I'm not going to pretend 28 Years Later isn't structurally wacky. Writer Alex Garland had plenty of ideas for a sequel, and threw all of them into one movie. Not to the point of feeling like several conflicting movies at once, but in the end, it felt a little messy. So, leave it to director Danny Boyle to make it coherent, while experimenting with wild cinematography and editing choices that simply rock, and yet, still find room for an effective emotional payoff. I'm conflicted about the ending, but I am hopeful for what's to come. ROBERT Everyone always credits The Walking Dead as being the reanimator of zombie media, but 28 Days Later had an eight-year head start that reminded the world of what we admire about pictures centered on the undead. The current iteration jumps us forward a few decades, emphasizing how mangled the UK is while the rest of the world is seemingly untouched. The first half is disorienting, like a mountain climber getting used to high altitude, logically mirroring what Alfie Williams’ Spike is feeling with his first venture to the infected mainland. The second half is more of a straightforward mission before the end pulls the rug out from under you, which would be jarring if it wasn’t so dang beautiful. QUENTIN While watching 28 Years Later , its random flourishes of archival footage, jarring tonal shifts, and a disjointed narrative — not to mention the dreaded “dumb kid making dumb decisions” trope — I wasn’t sure I’d walk away having enjoyed myself. However, after having a few hours to ruminate, I believe it ultimately works due to terrific direction, gorgeously experimental cinematography, and incredible sound design. Spike’s (Alfie Williams) coming-of-age throughline even ties the somewhat episodic presentation together in a way that provides emotional weight despite the disjointedness. The final sequence is hilariously bonkers, but I can’t say I’m not super excited to see more of it in the sequel. AMARÚ I rather dug the vibe director Danny Boyle and writer Alex Garland bring to 28 Years Later . Young Fathers’ music mixed with flashback intercuts, grainy texture, and skewed camera angles set a creepy and intense tone that establishes the weight of every day-in-the-life of Jamie (Aaron Taylor Johnson), Isla (Jodie Comer) and their son Spike (Alfie Williams), not just the one we are dropped into. That connection we feel allows the film’s wide range of tonal shifts to naturally progress into something quite emotional and unexpected. I’m now fully locked into how The Bone Temple will follow-up this hauntingly impactful tale. KATIE 28 Years Later is chaotic, but undeniably intense and entertaining. The incredibly immersive, and sometimes discombobulating, experimental cinematography and stylistic choices by Anthony Dod Mantle and editor Jon Harris throw you headfirst into the frenzied, bloody insanity without being too dizzying. The cast is fantastic, especially Jodie Comer and the young Alfie Williams’ deeply moving performances. However, the tonally dissonant final scene, with its painfully obvious sequel set-up, did not work for me. I found it ruined the high that this emotionally grounding coming-of-age story could have potentially ended on.

BOTTOMS Starring: Rachel Sennott, Ayo Edebiri, Havana Rose Liu, Kaia Gerber, Nicholas Galitzine, Dagmara Domińczyk, and Marshawn Lynch Director: Emma Seligman PAIGE Bottoms invents its own brand of stylish and outside-the-box comedy that manages to feel nostalgic yet fresh. It’s a unique, absurd, and elevated flick that is destined to become a high school cult classic. The hilarious script is filled with quotable dialogue, allowing Ayo Edebiri and Rachel Sennott to shine as a dynamic comedic duo. At a brisk 90 minute runtime, it’s safe to say that Bottoms is this year’s best comedy, and I truly hope director Emma Seligman and Rachel Sennott never stop working together because they have once again delivered a knockout film. CALEB Bottoms packs enough laughs to fuel a dozen sex comedies, and makes it look easy in the process. Director Emma Seligman’s latest outing fully immerses itself into the absurdity and surrealism of high school, playing out like an energetic teenage fever dream. The impeccable direction is bolstered by hilarious performances from Rachel Sennott and Ayo Edebiri, whose comedic chemistry is off the charts. The climax feels slightly rushed, and certain characters could have been more developed, but these issues don’t take away much from the film. In the end, Bottoms is undeniably hilarious, and that’s all it really needed to be. AMARÚ Bottoms won’t be for everybody. It’s 90 minutes of seemingly non-stop improvisation, irreverently raunchy humor, and parody-level plot points. While Ayo Edebiri and Marshawn Lynch navigate this with sincere charm, the rest of the cast and dialogue epitomizes “let’s throw absolutely everything at the screen and see if it sticks.” Half of it does…half of it really, really doesn’t. It’s clear that Bottoms wants to, and sometimes successfully does, show that female-led comedies can be as provocative as their male counterparts, but when they spell it out with little-to-no audience interpretation, it just feels stupid. JACOB Writer/director Emma Seligman continues her establishment as a great comedic filmmaker. While not as raunchy as some of 2023’s other summer comedies, Bottoms might well be the best of them all. A Fight Club -meets-high school laughfest, the film echoes 80s genre tropes while smashing them through a modern absurdist lens, creating one of the most pure, fun moviegoing experiences of the year. Rachel Sennott and Ayo Edebiri are typically excellent, but it’s the supporting actors who steal the show, including a charmingly understated Havana Rose Liu and delightfully dumb Nicholas Galitzine (even Marshawn Lynch has a few great moments). PRESTON With its constant barrage of the crudest wisecracks it can muster, Bottoms is the type of refuse that makes me fear for the state of our collective future. I realize this view may paint me as an old curmudgeon, but I likewise recognize that many will love this film. Ayo Edebiri and Rachel Sennott perform admirably despite my distaste for director Emma Seligman’s preference for outright “spray and pray” bawdiness over comedic timing. If you think you can handle a movie with a full cast of only Eastbound and Down ’s Kenny Powers (Danny McBride), you might enjoy this one. ADRIANO Bottoms is the kind of movie that I yearn for: a comedy so outrageous, silly, and hilarious that it sticks with you purely due to the entertainment value. It has a high joke-per-minute ratio, and since the jokes rarely miss, it’s never exhausting. Bottoms’ universe is very heightened, and thankfully, the amazing cast are all in on the joke, and as silly as it all is, it still has the heart a good high school comedy should have. Bottoms is a must-see for anyone hoping for a good comedy film.

THE RULE OF JENNY PEN Starring: John Lithgow, Geoffrey Rush, Nathaniel Lees, and George Henare Director: James Ashcroft NICK During festival season last year, I'd heard really positive things about The Rule of Jenny Pen , especially regarding the performances of Geoffrey Rush and John Lithgow, so I was eager to check it out. The word on the performances was justified as Lithgow, in particular, gives an unhinged and menacing performance. The rest of the film, however, is rather messy. While the performances caught me at first, it soon became glaring how hollow the story they're in is, which made the runtime feel far longer than it actually is. There’s certainly moments that stick out, but not the film as a whole. PAIGE While it's easy to obsess over John Lithgow's masterfully sinister character that terrorizes his fellow residents, director James Ashcroft offers a societal critique on nursing homes that is unexpectedly nuanced and impactful. Not only does Lithgow’s character in The Rule of Jenny Pen evoke a great deal of fear and anxiety, but so does the ease with which the care staff overlook the issues going on throughout the film. There may be a lot of unanswered questions and some pacing issues towards the end, but one thing is for sure: this movie will have you terrified of ever getting admitted into a nursing home. QUENTIN Despite terrific performances from screen legends Geoffrey Rush and John Lithgow, The Rule of Jenny Pen isn't a movie worth going out of your way to find. Themes of elder abuse and the inevitability of getting old are notionally explored, but not with enough weight to make them meaningful. On top of that, the pacing is extremely repetitive and sluggish, resulting in a movie that feels much longer than it actually is, which is especially exacerbated by the thin and messy story. Still, Lithgow clearly relished the opportunity to act completely deranged because he goes for broke, so it’s not a total loss.

GHOSTED Starring: Chris Evans, Ana de Armas, and Adrien Brody Director: Dexter Fletcher NICK What starts off as something that can only be described as "if a Hallmark movie starred A-listers" quickly settles into being a generic action movie filled with clichés and set pieces that leave a lot to be desired. This thing is rough. Every character feels miscast, but Chris Evans as the needy hopeless romantic is the worst offender; meanwhile, Ana de Armas (who nailed a similar role in No Time to Die ) gives one of her worst performances yet. Even the soundtrack choices feel out of place. The one thing it got right, however, is the title, as Ghosted is destined to be forgotten. JACOB There isn’t likely to be another film released in the first half of the year that wastes its potential as thoroughly as Ghosted . An unfunny rom-com and spy thriller devoid of excitement, the indecisively-written film simply runs a paint-by-numbers gambit by letting Chris Evans and Ana de Armas – two powerhouse performers in their own right – lift all the weight of a two-pound dumbbell off its pages. Neither of their characters are in any way compelling, the action sequences are generic at best, and some truly terrible editing choices prevent what could have been disposable fun from being nothing but hollow noise. JOSEPH Action-comedy romances are pretty much my new favorite genre, and Ghosted succeeds as the latest offering. The chemistry is believable and the cast is hot, but the jokes vary in quality. Unfortunately, the eye-candy nature of Chris Evans does make it difficult to buy his humble, everyman farmer-boy backstory, but his comedic presence makes up for it. The plot is simple and fun, but the antagonists are unnecessarily complicated, with Adrien Brody merely doing what he can to get through it. As for Ana de Armas? No notes. Sure, the film could have been better, but it's still an entertaining date-night popcorn flick. QUENTIN Ghosted is by no means a good movie, playing like a lazy, gender-swapped version of Knight and Day ; however, if you’re in the right mindset, it’s not entirely unwatchable either. That said, Ana de Armas and Chris Evans have zero chemistry, and the action sequences are pedestrian, at best. But most of all, Evans is simply miscast. Having Captain America play a clingy loser akin to Jon Favreau’s character in Swingers just doesn’t work. Still, the soundtrack is nice, there are some fun cameos, and as a person whose stateside home is D.C., it was cool to see my old ‘hood (Navy Yard) on screen. AMARÚ There’s a five-minute sequence in Ghosted that works extremely well in its self-referential, hilarious satire. The rest of the film, however, isn’t intelligent enough to pull off parody, cute enough to pull off romance, or shot well enough to pull off action-comedy. I expected so much more from a Chris Evans/Ana de Armas-led romp directed by Dexter Fletcher. Evans and de Armas’ pre-existing Knives Out chemistry isn’t enough to overcome the cliché, poorly written script that Fletcher failed to salvage before phoning it in to the editor’s room. The music is kinda cool, though. ADRIANO Ghosted is the kind of fake movie you’d see at the beginning of Tropic Thunder because nothing about it feels real. The script is an AI-generated minefield of lame jokes and undemanding plot points, and I never once felt this relationship was authentic. Kudos to Chris Evans and Ana de Armas for trying, but even they can’t make this script believable, while Dexter Fletcher directed this film with the look and vibe of a Hallmark film. I never once felt that this was the creation of a group of people passionate about a project over the lifeless drab it really is. PAIGE As cute and charming as Ghosted seems, director Dexter Fletcher couldn’t seem to crack the code with this action-packed rom-com. Ana de Armas and Chris Evan’s chemistry is the only thing that lifts this film up from the not-so-good screenplay. The script is honestly a HOT mess that seems to have had too many cooks in the kitchen (four male writers!). Sure, the movie has some sparks of fun, but just don't expect much more from it because there is a whole lot of mediocrity here.