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YOUNG WOMAN AND THE SEA Starring: Daisy Ridley, Tilda Cobham-Hervey, Stephen Graham, Kim Bodnia, Christopher Eccleston, and Glenn Fleshler Director: Joachim Rønning PAIGE Young Woman and the Sea is an optimistic and inspiring tale that is swimmingly better than last year’s Nyad . With such grace and purpose, Daisy Ridley dons Trudy Ederle's (the first woman to swim across the English Channel) swim cap in what might be her best performance to date. Despite being a cliché sports biopic, this tale has heart and is a welcome diversion from Disney's usual IP movies. In the end, this is an empowering movie about triumphing over hardship and pursuing your dreams, which we can all relate to in some way. KATIE Young Woman and the Sea is a solidly entertaining, if cliché and predictable, sports drama telling the story of Trudy Ederle (Daisy Ridley), the first woman to swim the English Channel. The film has a crowd-pleasing, old-fashioned appeal, with an emotive score, incredible production value, and uncomplicated, charming characters who are easy to root for, especially as the uplifting story culminates in a gripping third act. The whole cast is fantastic, particularly Ridley, who is perfectly cast as the plucky, fiercely determined Ederle, and it's great to see her shine in a film that understands and elevates her talents. PRESTON Young Woman and the Sea tells the true story of Trudy Ederle’s (Daisy Ridley) attempt to swim across the English Channel. The story is engaging and charming while touching on themes of feminine empowerment and overcoming adversity, all done with adequate gravitas without overdoing it and potentially disenchanting younger viewers. Great performances are turned in by the entire cast, and while you can’t expect a break from the classically, semi-saccharine nature of the Disney model, you will be glad that they stuck to their successful formula here.

HELL HOLE Starring: John Adams, Marko Filipovic, Bruno Veljanovski, Anders Hove, Maximum Portman, and Toby Poser Directors: John Adams and Toby Poser This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. QUENTIN Hell Hole has a certain can-do charm that makes you want to root for it despite its flaws. The premise is legitimately brilliant, using the basic story construct of The Thing to explore ideas around abortion through gore, heavy metal, and a very dry sense of humor, but the movie is undermined by its low-budget trappings. The effects and performances are in line with what you’d expect from a movie of this caliber, which can be distracting. Admittedly, it’s genuinely admirable what filmmaking clan The Adams Family managed to wrangle out of seemingly very little, but it’s just not enough to make Hell Hole recommendable. NICK On one hand, Hell Hole did enough to maintain my attention throughout. In particular, the way the directors (John Adams and Toby Poser of The Adams Family) use the template of John Carpenter's The Thing to explore different themes is admirable. On the other hand, a smaller budget leads to a cast unable to give this story the performances it deserves, and for a film so focused on its gory moments, the effects are sorely lacking. I'd love to see a re-exploration on a larger budget, but as things stand, I commend The Adams Family for what they are able to do with limited resources.

FROM THE WORLD OF JOHN WICK: BALLERINA Starring: Ana de Armas, Gabriel Byrne, Anjelica Huston, Ian McShane, Norman Reedus, Keanu Reeves, and Lance Reddick Director: Len Wiseman NICK From the World of John Wick ... Ah yes, the world of John Wick , where a stab wound is just a minor inconvenience. Jokes aside, this film is exactly what you'd hope it to be. Ana de Armas fits right into the lead role as she shows off her ass-kicking chops, while Chad Stahelski's fingerprints are all over the innovative action set pieces (some of which are among the best in the franchise). Although Eve's (de Armas) origin story goes a touch too long, she grows to cement herself as another character more than capable of carrying this franchise post-Keanu Reeves. ADRIANO Aside from the magnum opus that is John Wick: Chapter 4 , Ballerina (the full name is dumb) is about as good as any film in this franchise. You may say the story is generic, but I'd argue it builds the universe further, diving into the indoctrinating factor of this assassin world. And the action is pure John Wick . It's obvious that series overseer Chad Stahelski had some hand in the reshoots (Keanu Reeves is just here for the trailers), but when Ana de Armas is shooting down an army of henchmen, I don't care when it was shot in the schedule. So, as a franchise fan, I'm satisfied. AMARÚ There’s a self-aware grandiosity that the John Wick franchise pokes fun at that makes it work so well with its bloody violence, and Ballerina ’s second and third acts find a groove to capture that familiar tongue-in-cheek sensibility. I’m glad it did too, because way too often, both the movie and Ana de Armas take themselves much too seriously. The shallow revenge plot and cliché drama have no personality to start, doing de Armas no favors in helping us connect with her character. But luckily, some familiar faces and standout action pulled me back every time I felt myself losing interest. BODE The last time the John Wick franchise spun-off from its titular character’s hellish journey, it was in the form of a not-very-beloved prequel miniseries (The Continental ). So, what about Ballerina ? Well, the good news is that there’s enough in this interquel (particularly in Ana de Armas and its fun action sequences) to keep it watchable, especially in the (Chad Stahelski-reshot) second half. The bad news is that it often feels like a lesser version of a Wick movie due to its by-the-numbers revenge plot and lack of operatic energy. That said, if you’re not asking for a lot, you’ll be satisfied. QUENTIN For all the talk of superhero fatigue, how come no one is mentioning John Wick fatigue? If you love this franchise, Ballerina is more of the same: neon-soaked fisticuffs rooted in frenzied gunfire and well-choreographed knife-play against waves of faceless henchmen. If that is all you want, it delivers. However, if you want character development, a formidable villain, compelling performances, or an engaging story, it would be better to look elsewhere. Ultimately, this is every female-driven Wick ripoff — Atomic Blonde , Kate , and Jolt all come to mind — except it has official Wick branding. For some, that will be enough. For me, flamethrower fight aside… shrug. KATIE I was disappointed by Ballerina . Aside from some very strong action scenes, it's stitched together with dull dialogue, flat performances, and weak character development that should have just been omitted entirely. It begins with a cliché backstory that goes on for too long, and I’d rather it didn’t even attempt to tell emotional backstories if they’re going to be this insubstantial. Ana de Armas is good in the leading role, but her performance doesn’t stand out, and her character is built on the fact that she’s… a girl?! Unfortunately, Ballerina doesn’t add to the franchise, but relies heavily on it.

A HAUNTING IN VENICE Starring: Kenneth Branagh, Tina Fey, Michelle Yeoh, Jamie Dornan, Kelly Reilly, Camille Cottin, and Jude Hill Director: Kenneth Branagh AMARÚ A Haunting in Venice really misses the fun that Kenneth Branagh usually has in his outings as Hercule Poirot. Instead, it leans heavily on horror elements that, while well crafted, create a disorienting effect on the pacing, editing, and acting. The resulting unevenness continuously took me out of the story every time glimpses of the old Poirot pulled me in. Luckily, Branagh slowly returns to form as the film progresses, and along with a standout performance from young Jude Hill, he reminded me just enough why I’ll always watch these Agatha Christie murder mystery adaptations. KATIE This latest Poirot mystery is the best of Kenneth Branagh’s lavish Agatha Christie adaptations. Injected with a dose of gothic horror, the film is wonderfully extravagant, melodramatic, and gorgeous to look at. Branagh draws inspiration from classic cinema, using tried and tested techniques to create an old-fashioned yet very well-crafted and entertaining film. The cast is fantastic, with notable performances from the scene-stealing Michelle Yeoh as the famous medium Joyce Reynolds and Jude Hill as the unsettling young boy, Leopold Ferrier. The film is perfect, if tame, viewing for the coming Halloween season: fun, silly, and spooky without ever being scary. QUENTIN While I admit that Kenneth Branagh’s Hercule Poirot series is formulaic and, overall, nothing special, it still makes for an entertaining murder mystery diversion. In A Haunting in Venice , which is better than Death on the Nile yet nowhere near as good as Murder on the Orient Express , Branagh adds just enough of a horror spin to create a fresh take on a tired genre. Is it perfect? Of course not – it’s a little slow, quasi-predictable, a tad convoluted, and Tina Fey is miscast. That said, it’s an enjoyable enough Agatha Christie adaptation, even if it is disposable. CALEB If you’re already in the Halloween spirit, A Haunting in Venice should be right up your alley. Director Kenneth Branagh returns with another Hercule Poirot mystery, this time adding a welcome touch of horror to the mix. Branagh himself is as entertaining as ever, but his co-star Tina Fey gives an uncharacteristically bland performance. Some of the jump-scares felt a little tacked on, but the stellar cinematography and production design created an atmosphere spooky enough to satisfy my horror cravings. Murder mystery veterans might find the narrative a tad predictable, but the film is still plenty charming regardless. PHILL Back in a starring and directorial role, Kenneth Branagh’s ever-charming and delightful Hercule Poirot returns in a much darker and drearier setting, just in time for Halloween season. Blending nostalgic murder mystery with spectral horror, A Haunting in Venice is still through and through a definitive Hercule Poirot whodunnit at its heart, but Branagh’s flair for Dutch angles and warped cinematography certainly adds to the eerie, unsettled nature of the film. Branagh’s performance excels alongside those of Michelle Yeoh and Jude Hill, both of whom standout from the mixed pack of the supporting cast. PRESTON Kenneth Branagh’s A Haunting in Venice is appropriately set in mid-20th century Venice, with all of its mysterious old-world charm and, assuredly, the setting of enough tumultuous events to make one question if there isn’t some eerie spectral force at work. The idiosyncratic, angular, and in-your-face camerawork adds to the suspense and intensifies its actor-focused narrative. Unfortunately, the production takes its toned-down approach a bit too far, and it makes much of the voyage feel like a slog. In the end, we are graciously rewarded for our toil with a conclusion that has all the investigatory panache of its sleuth champion.

RAYA AND THE LAST DRAGON Starring: Kelly Marie Tran, Awkwafina, Gemma Chan, Izaac Wang, Daniel Dae Kim, Benedict Wong, Jona Xiao, Sandra Oh, Thalia Tran, Lucille Soong, and Alan Tudyk Directors: Don Hall, Carlos López Estrada, and Jon Ripa JAMES I wasn't prepared for how beautiful this film would be. Sporting some of the lushest artistry I've ever seen in a Disney movie, the stunning images are complimented by a soaring orchestral score that ranges from Southeast Asian drums to 90s synthesizers to transcendent choral arrangements. I was likewise blindsided by how relevant the story was: like our world, Raya's is divided by self-interest and powerplay, so trust has become the rarest of human qualities. I usually don't buy into stories where people overcome their tribalism, but this film earnestly sells its tale of teamwork amidst a damaged world. JACOB Raya and the Last Dragon is Disney’s most ambitious animated feature in years, with easily the most to say of any non-Pixar film (besides Zootopia ). The story's setting is similar to Black Panther , but with Southeast Asian mythos informing its characters and plot. The film makes short work of getting the viewer invested with beautiful animation and an incredible score by James Newton Howard. It does miss out on some opportunities to explore the more nuanced sides of trust and betrayal, but partly makes up for it through stellar action and genuine emotional depth.

WHITE MEN CAN'T JUMP Starring: Jack Harlow, Sinqua Walls, Teyana Taylor, Laura Harrier, Lance Reddick, Vince Staples, and Myles Bullock Director: Calmatic AMARÚ There are two seconds in White Men Can’t Jump where I thought Jack Harlow had some charm. The hope those moments provided didn’t last long. This unnecessary remake is jankily edited, poorly written, and hastily paced. Nothing on screen feels natural, especially the attempts to recapture the original’s poignant race-heavy dialogue. Harlow and Sinqua Walls have a bit of chemistry, but when on screen next to comedic standouts Myles Bullock and Vince Staples, you realize how not up to par this film is to the original. When the comedic relief is better than the main characters, it’s a pretty bad look. QUENTIN Not that it needs to be said, but White Men Can’t Jump didn’t need a remake, and it certainly didn’t deserve one this lazy. The contentious camaraderie between Jack Harlow and Sinqua Walls pales in comparison to what Wesley Snipes and Woody Harrelson had, and all the racial commentary of the original has been reduced to a slew of “white people be like…, black people be like…” jokes. There also is a completely needless subplot with one character’s father (though it was nice to see Lance Reddick one last time), while the basketball scenes aren’t all that fun or exciting. Overall, this is a total brick.

THE SHADOW STRAYS Starring: Aurora Ribero and Hana Pitrashata Malasan Director: Timo Tjahjanto ADRIANO Fifteen minutes into The Shadow Strays , two badass ninjas cut multiple heads off, gun down multiple people, and slice folks up. So, suffice it to say, I fell for this movie quickly. The Shadow Strays rarely lets up with its ultra-violence, and when it does, it elevates the characters and the world around them. The movie never feels repetitive either, as director Timo Tjahjanto finds new and exciting ways to chop bad guys up…so much so that I found myself having a blast for all 144 minutes. If we truly are getting the sequel that is set up, bring it on. QUENTIN Writer-director Timo Tjahjanto seemingly makes one kind of movie, and to be fair, he’s really good at that type of movie. However, the problem is that to make each one more brutal and violent than the last, which is a tall task because they’re all viscerally action-packed, the only new thing he has to offer is longer runtimes. The Shadow Strays , his longest film yet, still packs the same bloody brutality as his other films, which is fun, but it drags at 143 minutes, resulting in a diminished entertainment factor. The carnage is there, but it gets unrelentingly repetitive and becomes almost exhaustingly too much. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

ALIEN: ROMULUS Starring: Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu Director: Fede Alvarez NICK Director Fede Alvarez has a knack for taking tired franchises and rejuvenating them for a new audience, and that's exactly what he accomplishes with Alien: Romulus . He has crafted a film that instantly immerses you thanks to some brilliant visuals and smart directorial choices, aspects that are only enhanced by the solid cast filled with up-and-comers (highlighted by a terrific performance from David Jonsson). The tension is palpable, the story is inventive, and the Xenomorph is never overexposed. Romulus isn't just a worthy successor to the Alien brand, it's among its best entries. ADRIANO In many ways, Alien: Romulus is a dream come true for this Alien fan. Combining the tension-filled eeriness of Ridley Scott's Alien and the contained action of James Cameron's Aliens , Romulus is an atmospheric action-horror film that is both successfully creepy and badass. Cailee Spaeny certainly is one hell of a heroine, but David Jonsson is the heartwarming standout. The film retreads its predecessors maybe a bit too much for my liking, and some of the fan-service references annoyed me, but overall, especially with the bonkers finale, I had a blast with this film. QUENTIN Considering Romulus takes place between Alien and Aliens , it makes sense that it seamlessly combines and transitions from the slow-burn horror of the former (the first hour) to the tense action of the latter (the second hour). Plus, it’s tremendously directed, with Fede Alvarez making great use of light and shadows to build dread while capturing some truly iconic shots that call back to the originals. And speaking of…the Easter Eggs are plentiful for Xenomorph stans without feeling too forced, which is nice. This is easily the best franchise offering since 1986, and if you only watched Alien , Romulus , and Aliens , you’d have an excellent trilogy. AMARÚ Fede Alvarez directed the hell out of Alien: Romulus , utilizing light, shadow, and great sound design to create momentous tension without relying on it. Instead, it enhances a plot, which much like the first two Alien films, is mightily propelled by the main group’s relationship with a synthetic, played phenomenally by David Jonsson. The relationship between Andy (Jonsson) and Cailee Speany’s Rain endears us to the story and the rest of the crew, and while Alvarez’s third act takes big horror swings that may not work for everyone, the captivating balance of thrills, character, sound, and visuals creates a solid addition to the franchise. PAIGE Despite the fact that Alien: Romulus may not bring anything new to the franchise, director Fede Alvarez successfully evokes the ascents and terror of 1979's Alien while also including numerous callbacks to other films in the series. Though there isn't much tension in the movie, David Jonsson's dad jokes and Cailee Spaeny's performance offer just the right amount of emotional impact to keep viewers interested. Plus, it’s packed with beautiful visuals, stellar practical effects, and a fantastic sound design. I just wish it established its own identity instead of feeling like a love letter to the franchise. KATIE Alien: Romulus executes its simple but impactful premise with grippingly gruesome precision, bringing new blood to the franchise whilst honouring its predecessors. Plus, David Jonsson and Cailee Spaeny are just fantastic in the lead roles, standing out amongst the rest of the cast. Jonsson’s impressive performance ranges from unsettling to endearing, and Spaeny solidifies her rising stardom. There are plenty of callbacks to the previous films that don’t totally make sense, but they’re subtle enough to not break the immersion too much. Overall, Romulus is totally predictable but far from boring, brimming with atmosphere, action-packed set pieces, and impressively gory effects. PRESTON I have a confession to make…I haven’t been the biggest fan of the Alien movies. I liked that Warrant Officers got a well-deserved nod, but that is about as far as my appreciation goes. But this latest Alien (tribute) film is, surprisingly, my favorite so far. There were a lot of Easter Eggs lost on me, but the updated technological production elements, visual effects, and storyline are a much-needed improvement from past films. Plus, David Jonsson (Andy) provides a lovely, nuanced performance with a character whose development arc is the highlight of the film.

MASTER GARDENER Starring: Joel Edgerton, Sigourney Weaver, Quintessa Swindell, and Esai Morales Director: Paul Schrader JACOB Paul Schrader rounds out his trilogy of broken men sitting at desks with single lamps and a glass of whiskey in what’s likely to be one of his more underrated films. Yet another story of self-redemption, Master Gardener isn’t perfect; it is, however, an improvement over Schrader’s The Card Counter , and the gardens it explores are immaculately rendered. Joel Edgerton and Quintessa Swindell both give excellent performances, but it’s Sigourney Weaver who steals the show any time she’s on screen. That said, this brand of Schrader is subject to diminishing returns, and although I enjoyed it, it’s no First Reformed . ADRIANO I have a weird relationship with Paul Schrader’s directorial efforts. While I loved First Reformed , I found The Card Counter to be much weaker; I find myself smack dab in the middle with Master Gardener . Schrader clearly has a knack for moral complexities in his characters, but, powerful performances aside, the film doesn’t always feel engaging enough. That said, there is a silent beauty hidden under the surface that caught me by surprise given the film’s cold exterior, and that made it a worthwhile experience even if I’ll probably never watch it again. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

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.

GOOD GRIEF Starring: Daniel Levy, Ruth Negga, Himesh Patel, Luke Evans, Arnaud Valois, David Bradley, and Celia Imrie Director: Daniel Levy KATIE Good Grief is a stylish and cozy, if slightly forgettable, comedy-drama that is surprisingly light-hearted despite its emotional themes. Firmly planted in rom-com territory, the luxurious interiors and warm lighting channel the affluent sets of Nancy Meyers, and the friendship dynamics and glossy city locations reminded me of Richard Curtis films. Combined with heartfelt and convincing performances, Good Grief is a comforting and easy watch since it avoids delving too deep into the heavier ideas it presents. Whilst it falls short of delivering a satisfying emotional impact, it is a solid debut feature for Daniel Levy. ADRIANO Between this and Schitt's Creek , it seems like Daniel Levy has a real knack for authentic feel-good sentimentality. However, unlike that show, Good Grief lacks compelling charm outside of its sweetness. Levy's direction is, at worst, competent, and at best, well-thought-out. It's the writing that's the real problem here. It really feels like the message of finding true love after death is kind of an excuse to make people get some cheap feels in a rather wonky film. When the film hits its highs, you do feel something special, but the highs are very few and far between. PAIGE While Good Grief is a respectable feature directorial debut from the charming writer/director Daniel Levy, this bittersweet drama falls short of its potential. It succeeds in painting an honest picture of friendship and loss, but at times, it feels underwritten as it struggles to tie those two ideas together. In a way, it has a lot to say and little to feel, but its heart is in the right place. It just tries a little too hard to wrestle with the heavy topics at hand. All in all, it is a whimsical, heartfelt affair despite being far from perfect.

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