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CAUGHT STEALING Starring: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, and Carol Kane Director: Darren Aronofsky ADRIANO I don't know what happened to Darren Aronofsky, but this is not the guy who directed Requiem for a Dream . With Caught Stealing , Aronofsky ditches his typical dourness for a wild crime comedy akin to After Hours . I wish the story wasn't as messy as it is and that it didn't try to juggle so much, but the camera and sound work give this a unique kind of energy. Meanwhile, Austin Butler shows a new and interesting side to his leading-man abilities. Caught Stealing kept me on my toes for the most part, and that's the mark of any good thriller. AMARÚ Caught Stealing is a quick and dirty chaos cluster. It's quick with energetic pacing, not in its slightly overwrought runtime, but in the tenor and editing that paints the film as director Darren Aronofsky’s version of a Guy Ritchie crime caper. While Ritchie’s romps are fun and rewatchable, Aronofsky’s dark overtones rapidly turn the string of unfortunate events that intertwine the multitude of players surrounding Austin Butler’s Hank into a hard look into the mistakes people try to outrun. So, while the largely talented ensemble is great to watch, the story’s harsh realities make its 107 minutes play like a harrowing, yet entertaining, one-time 2+ hour watch. PAIGE Caught Stealing certainly feels like a throwback to 90s crime thrillers, in that it's occasionally gripping and fun but oddly lacking in stakes. This movie is director Darren Aronofsky’s most accessible and conventional to date, but it’s weightless and uneven, at its best when it drops both the audience and Austin Butler’s (who is great in this, delivering my favorite performance of his yet) character into a tangled web of screwball characters. Overall, Aronofsky’s film delivers when it comes to the entertainment factor, but falls short of having a compelling script. ROBERT The main focus on Caught Stealing is how unlike a typical Darren Aronofsky movie it is; however, while the packaging is different, the heart of it still resembles the core experience: chaos, turmoil, and a sense that everyone’s lives have reached their lowest point. Plus, setting it as a late 1990s caper creates a rich environment of nostalgia without it feeling out-of-time. I have never been an Austin Butler fan, but this film showcases a vulnerability and every man quality that I wasn’t aware was in his arsenal. The cast, while underutilized on occasion, shaded a very colorful world worth exploring. QUENTIN Caught Stealing , easily director Darren Aronofsky’s most fun film, is a shaggy dog crime thriller that falls in line with True Romance , Inherent Vice , and (to a lesser extent) The Big Lebowski . Austin Butler and the sprawling supporting cast do excellent work, and their performances are only enhanced by Aronofsky’s proven eye and high-energy editing. Admittedly, the broad brushes of the story are predictable, but there are smaller, almost superficial twists that are unexpected, which helps to keep viewers on their toes amidst the bloody violence, exciting action, and effective drama. Overall, this is just a damn good time, rooted in rowdy griminess and punk-rock swagger. BODE It seemed shocking that the Guy Ritchie-esque crime caper Caught Stealing would come from Darren Aronofsky, a very different kind of filmmaker. However, looks can be deceiving, and what should be as fun as one of Ritchie’s romps is anything but. Unfortunately, it's never convincingly fun, and the energy is almost non-existent. And since Aronofsky can’t fully escape his dour tendencies, its heavier moments only create tonal whiplash. Austin Butler carries the material as best he can, and the score from composers Rob Simonsen and Idles is a highlight, but otherwise, this is a poor man’s After Hours . KATIE Caught Stealing is an unexpectedly fun crime-thriller that doesn’t pull its punches. It’s exciting, darkly comedic, and full of dynamic camerawork, with a grungy 90s setting that adds a nostalgic vibe. It has a fantastic cast, especially a magnetic central performance from Austin Butler, whose star power shines. However, although it's fast-paced and entertaining, the plot is initially too busy, and later skims over some events a little too quickly without addressing them. I also found some of the violence a little too gratuitous. But, overall, Caught Stealing is easy-to-enjoy entertainment.

THE AMATEUR Starring: Rami Malek, Rachel Brosnahan, Holt McCallany, Laurence Fishburne, Caitríona Balfe, Jon Bernthal, and Michael Stuhlbarg Director: James Hawes NICK Despite leading roles in Mr. Robot and Bohemian Rhapsody , it feels like Hollywood doesn't know how to utilize Rami Malek. But maybe they finally nailed it with The Amateur , as my biggest takeaway was how well he fit the role of Charlie Heller. Besides that, it's another run-of-the-mill revenge story that wants to stand alongside the Bourne series, but is unfortunately missing the urgency needed to do so. Heller's intended opposition never feels formidable, which waters down the film and allows for lulls. It’s not bad, and I hope to see more of this from Malek, but it all feels a little amateur. No pun intended. ADRIANO The Amateur is a movie that plays out in the ways you would expect, and even with that, it is entertaining but not much else. It mostly works because the quirks of the protagonist play perfectly into Rami Malek's sensibilities as an actor, so he gives the movie a lot to work with. But the film is just so obvious. There is earned tension from the man-using-his-brain-instead-of-his-brawn concept, but everything you think will happen, does happen. The way-too-dark colour grade only adds to its ultimate forgettableness. BODE When I saw The Amateur on a Friday evening, my screening was surprisingly full. For essentially an old-school spy thriller that could’ve been turned into a limited series today, that was nice to witness. If only the film were more fun, and given how simple and ludicrous the plot is, it really should have been. It’s certainly watchable, thanks in part to a cast filled with reliable character actors, but ultimately shrug-worthy. Still, I’m glad it exists, if for nothing else than clear proof that the audience who yearns to see these kinds of films theatrically lives on. AMARÚ I hate to say it, but I just don’t believe Rami Malek as the relationship guy, even in an opposites-attract relationship like they set up in The Amateur . However, I do believe him as the intelligence guy. So watching him puzzle his way through a pretty intriguing revenge plot helped mask some of the more unbelievable scenes with usually believable actors (that was laid on too thick, Holt McCallany). Laurence Fishburne, Jon Bernthal, and Michael Stuhlbarg, however, are always believable, and solidified my attention throughout this weirdly paced, yet oddly entertaining film… if you can believe that.

ON SWIFT HORSES Starring: Daisy Edgar-Jones, Jacob Elordi, Will Poulter, Diego Calva, and Sasha Calle Director: Daniel Minahan ADRIANO I couldn't have left the theatre faster once On Swift Horses ended. A truly dreadful experience, it may bring up some interesting ideas on sexuality and impulse, but it winds up being dull and shallow, evaporating any intrigue it ever presented. The cast is... decent. Jacob Elordi is clearly the best-in-show, but it gets so lost in itself and so visually ugly that I struggled to fully grasp what the central point of everything was. Some moments felt like they existed only to amp up the drama, but it ended up making me feel nothing. KATIE On Swift Horses tries to tell too many stories for its own good, presenting some compelling ideas around the glossy American dream juxtaposed with the pressure to conform through oddly convoluted and interweaving narratives that don’t allow it to dig beyond the surface. As such, characters all feel slightly underdeveloped, especially the relationship between Julius (Jacob Elordi) and Muriel (Daisy Edgar-Jones) that the film is essentially built around, which wastes the talents of a stellar cast. Although the 1950s aesthetics are gorgeous and it's shot beautifully, On Swift Horses is a bland and forgettable drama. PAIGE On Swift Horses is a slow burn that does not leave me yearning for love. To be quite honest, it depicts one of the weakest love stories I’ve ever witnessed on screen. Despite decent performances from Jacob Elordi and Daisy Edgar-Jones, the supporting cast (Sasha Calle, Diego Calva, and Will Poulter) are completely underused. The script attempts to deliver a messy and unconventional take on longing for romance, but it falls flat due to the dull screenplay. Its story presents what should have been a hot and heavy whirlwind tale of love and desire, but ends up being a shallow and underwritten story that doesn’t dive deep enough into its themes. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE LINE Starring: Alex Wolff, Austin Abrams, Bo Mitchell, Halle Bailey, Lewis Pullman, Angus Cloud, Scoot McNairy, and John Malkovich Director: Ethan Berger KATIE The Line is a tense, darkly funny thriller exploring the toxicity and violence that plagues fraternity culture. Alex Wolff is incredible in the lead role, driving the suspense that assured me something horrible was waiting around the corner. Halle Bailey’s character is compelling but underdeveloped, and I was relieved she was kept at a safe distance from the dangerous toxicity of the frat house. The film reveals how these men perform “masculinity” exclusively for other men in a way that is undeniably homoerotic (whilst screaming homophobic slurs), and the ending shows how these issues will continue to be perpetuated by those it victimises. PRESTON The most interesting components of The Line are the power dynamics within the fraternity itself and the unfair privilege of the wealthy. The toxic masculinity commentary is sure to resonate with some, but is also a bit tiresome with the random presence of Halle Bailey adding little to the primary plot, only serving to hammer home the portrayal that all fraternity members are chauvinistic, racist degenerates. Still, Alex Wolff and Austin Abrams are fantastic. It's an entertaining watch, even if predictable, that will probably be even more so for someone less cynical. QUENTIN I’m sure for some people, The Line is a terrific movie that gives new insight into toxic masculinity and the rich-boy fraternity lifestyle. However, I found all these characters to be so damn annoying (Mitch (Bo Mitchell), especially) that I didn’t enjoy spending any time with them, whatsoever. Maybe that’s the point, but even Tom (Alex Wolff), the reflective protagonist who slowly understands Greek Life isn’t all it’s cracked up to be, is an unlikable douchebro. On top of that, the story goes exactly where you’d expect it to, so there are no surprises. This dark spin on Animal House , colored with Whiplash , just wasn’t for me. PAIGE The Line is an unfiltered look at toxic fraternity culture that, despite its lack of subtlety and originality, is nevertheless a gripping drama. Although the film should have explored some of the aspects it touches on more thoroughly, Ethan Berger makes a strong directorial debut. He has assembled a solid ensemble, giving Alex Wolff the opportunity to really shine and show his range. Overall, The Line offers a convincing glimpse at frat life, even though it might not bring anything new to the table.

SNOW WHITE Starring: Rachel Zegler, Gal Gadot, Andrew Burnap, and Ansu Kabia Director: Mark Webb NICK Going into Snow White , a big question on everyone's mind was how the seven dwarves would work. Well, believe it or not, they're the best part of this thing; funny, charming, and heartfelt. Does that mean the film is good? No, because whenever momentum gathers, Gal Gadot's Evil Queen returns to the screen. Her performance in this is so genuinely awful that it made me feel bad for enjoying earlier parts of the film. There are other supplemental pros and cons of the film, but it would be hard for anything to overcome what is just an all-time bad performance from Gadot. ADRIANO I'm tired of Disney live-action remakes, but I suppose I should be fair and say Snow White is bad, but not awful. It actually feels like it had a purpose to its adaptation beyond hoping audiences will clap at the stuff they remember, and the film is carried by the incredible star-power of Rachel Zegler. Gal Gadot's performance, on the other hand, ruins the momentum of all Zegler’s scenes. The film is visually flat, the CGI is bad, and it meanders much longer than it should. So, while it’s pretty bad, Snow White stands out as one of the less terrible entries of these terrible remakes. AMARÚ You can talk all day about acting, but no performance can help a bad concept that takes the classic Snow White and regurgitates it with uninspired direction, indiscernible editing, uncanny CGI, and worst of all, an unintelligible script. The woeful writing exacerbates Gal Gadot’s cringeworthy performance while aggressively attempting but ultimately failing to dampen Rachel Zegler’s star power. It also highlights Andrew Burnap’s valiant, yet unsuccessful, effort to break through all the crap. Even with its small flashes of competency, Snow White is a clear example of how this live-action remake crashes and burns without actual thought and care as to why it exists. BRYAN Far from being the worst of the Disney remakes, Snow White still doesn't capture the magic that the multi billion-dollar corporation once strived for. Rachel Zegler pours her heart and soul into bringing the titular character to life, while everything else surrounding her doesn’t do any favors. The cheap visuals, the unmemorable songs and the monumentally embarrassing Gal Gadot turn are a few of the things that make this fail to meet its potential. I know there’s a promising film to be found here, yet we received a rotten apple from the Mouse House once more.

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.