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FRANKENSTEIN Starring: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Felix Kammerer, and Lars Mikkelsen Director: Guillermo del Toro NICK Frankenstein is director Guillermo del Toro’s heart laid out on screen. The director’s passion for this story is evident in every scene, and I truly think this is some of his best work to date. The world building and appearance of the film are exceptional, as del Toro's unwavering use of practical effects shines through. Jacob Elordi as The Creature blows away all expectations while del Toro continues to succeed in finding humanity within a monster. It’s not perfect, mind you – Mia Goth is miscast and the script could be a touch tighter – but much like Frankenstein’s monster, it rises above any of its imperfections. ADRIANO Writer/director Guillermo del Toro's Frankenstein is long. There was never a moment when I wasn't engaged, but I'll admit there's some fat that could've been trimmed. But the ends justified the means here. As expected from a del Toro film, the crafts are magnificent, from set design to Dan Lausten's cinematography that fully immerses us into this world. But it's the compassionate writing that accurately brings Mary Shelley's book to life, pondering the difference between man and monster with a stunning performance from Jacob Elordi as The Creature. This Frankenstein is another stunning creature feature from the master del Toro! QUENTIN Truth be told, I’ve long considered director Guillermo del Toro to be overrated, but my tune has changed with Frankenstein . Although long-winded and somewhat tonally disjointed, I can’t deny that this immaculately crafted and lavishly designed adaptation hooked me almost immediately through its terrific performances and grand scale. Del Toro’s gothic sensibilities are perfectly aligned with Mary Shelley’s poetic story of loss and guilt, creating everything I wanted and failed to get from Robert Eggers’ Nosferatu (a slog of a movie). I wouldn’t call it a masterpiece like some have, but the Hollywood machine is doing cinema and cinephiles a disservice by releasing Frankenstein on Netflix. AMARÚ From the first swooping action scene in Frankenstein , you can feel that director Guillermo del Toro was aiming for his epic. The visuals and cinematography, coupled with an imposing score, make for a grand retelling of this well-known tale. However, I’ve never experienced it like this. Its grandiose scope clears the way for Oscar Isaac’s strikingly arrogant portrayal of the titular creator, and Jacob Elordi’s magnificent depiction of his creation’s vast loneliness. The three artists’ boundless marriage gives life to a surprisingly simple and straightforward story, so while the emotional resonance may not connect, the presentation and performances keep you fully engaged. BODE Guillermo del Toro has wanted to make his version of Frankenstein for forever. Now that it’s finally made it to the screen, does the long wait pay off? Well…sort of. His emotional connection to the source material is tangible, the performances (especially Jacob Elordi as The Creature) are solid, and, as always with a del Toro project, the technical aspects are top-notch. But it’s undeniably overlong, and the increasingly literal themes of “who’s the real monster?” (not new for GDT) kept me from embracing it further. Perhaps another viewing will smooth some issues over, but for now, I can only admire this. PAIGE While Guillermo del Toro’s take on this classic monster tale may not bring anything particularly new to the table with its story, it still is an exquisitely grotesque, atmospheric, and enthralling experience. Surprisingly, its weakness doesn’t lie in the humanization of the monster, as Jacob Elordi’s portrayal of the creature is actually my favorite part of the movie; it’s the character of Victor Frankenstein, played by Oscar Isaac, that is lacking here. Elordi brings so much depth and vulnerability with his performance, while Isaac’s character felt emotionless and somewhat stale in comparison. Despite its tragic yet hopeful ending, it’s missing a charm that would have made it feel complete. KATIE I enjoyed every minute of Guillermo del Toro’s Frankenstein. It’s a very del Toro film in the best way, with gorgeously detailed set design, a humanistic story that’s full of heart, and that crafty, theatrical yet lavish sheen. It’s romantic and darkly gothic, and the practical effects are fantastic and wonderfully squishy. The focus on the obsessive relationship between Victor Frankenstein, played with scene-chewing gusto by Oscar Isaac, and his monstrous creation, played by an impressively sympathetic yet imposing Jacob Elordi, is very compelling, and del Toro’s reverence for the story is evident in every frame. ROBERT When Frankenstein opened in the Arctic, I thought to myself, “I’ve seen this once upon a time”. As it continued, I kept being transported to previous iterations of the story I’ve seen, and while interesting to look at, I didn’t understand how this was specific to Guillermo del Toro. The production design with some of the practical sets was breathtaking, and the makeup and costumes filled out the aesthetic of 19th-century Europe spectacularly. However, the film drags in multiple areas, and while Jacob Elordi as The Creature is sympathetic, I can’t root for or connect with any other character; the seams here are exposed. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 Zurich Film Festival, respectively.

WHO KILLED THE MONTREAL EXPOS? Starring: Felipe Alou, Jeremy Filosa, Claude Brochu, David Samson, Vladimir Guerrero, Pedro Martinez, and Larry Walker Director: Jean-François Poisson NICK Although a definitive answer would have been great, Who Killed the Montreal Expos? is more about laying out the facts and letting all parties state their case. Unfortunately, most of the people involved aren't particularly engaging, with only the former players (Pedro Martinez, Larry Walker) holding my attention. The heartbreak of the city is evident, and you can't help but feel for the people of Montréal; not just because they lost their team but because their story is told in such a lacklustre documentary. If you don’t know the backstory, maybe you’ll find something here. If you do, don’t expect much. ROBERT After the success of The Last Dance during COVID, I assumed sports documentaries about 90s-era teams would air every other week, but it didn’t turn out that way. The plight of the Montreal Expos is often thought of by baseball fans, but it hardly ever comes up in mainstream discussions anymore. Being able to take a thoughtful look into all the reasons why the Expos had to move to Washington D.C., destroying the fan base in Montreal in the process, is fascinating, though its composition is a bit turbulent as it jumps back and forth in time. QUENTIN Have you seen the internet joke, “before memes, guys just sat around yelling the names of 90s baseball players at each other?” Who Killed the Montreal Expos? is basically a 90-minute documentary that offers little more than that. Sure, there’s a short love letter to the fans of Montreal, as well as some dry facts as to why the Expos relocated to Washington D.C. to become the Washington Nationals; however, most of my limited enjoyment simply came from watching old baseball highlights and doing Leo-pointing-meme at random players from my youth, like Marquis Grissom and, one of my all-time favorites, Larry Walker.

EMPIRE OF LIGHT Starring: Olivia Colman, Micheal Ward, Colin Firth, Toby Jones, and Tom Brooke Director: Sam Mendes NICK There is something so pure and comforting about an Olivia Colman performance because she injects such added humanity into all of her films. Sam Mendes’ Empire of Light is a film that relies too heavily on that humanity without fleshing out a proper story. The setup is lovely, but at the midway point, the film almost becomes something completely different. Even the cinematography by Roger Deakins (who creates the beautiful opening credits) feels like it shifts. The story eventually branches out beyond its means, rushing to some unnecessary conclusions. Sometimes, less is more. ADRIANO Empire Of Light is the definition of lipstick on a pig. From a technical standpoint, it is flawless. Roger Deakins’ cinematography is stunning, while Trent Reznor and Atticus Ross’ score is magical. Micheal Ward is great too, but Olivia Colman is fantastic, even by her standards. That said, the script fails this film. It's not the worst thing ever written, but it juggles too many barely related concepts, including an underdeveloped love story, a poorly written study of mental health, and half-assed racial politics. Admittedly, the “power of cinema” stuff worked on me, but this movie is just weak Oscar bait. QUENTIN For a cinephile, a film billed as “a love letter to the magic of cinema” seems like a no-brainer. However, despite beautiful cinematography and the art deco design, Empire of Light is such a mundane movie for boomers that I expected to be handed an AARP brochure when it ended. Not only is it a bore, but it’s a scattershot approach to various unrelated things that writer-director Sam Mendes seemingly cares about. Is it about cinema, racism, or mental illness? It’s about all of them and none of them, with Mendes failing to give us a reason to care as much as he does. JACOB While Empire of Light is often beautiful to look at and boasts a beautifully composed score (when it’s heard, anyway), the overall experience is just a bit dry. That’s not to say it’s entirely boring or devoid of meaning, but it doesn’t seem to know what it wants to be about, subtextually. Love, desire, mental health, white supremacy – these are all concepts the movie features but doesn’t use in effective ways to enhance the story. Meandering in some films can be a good thing, if it’s the point; unfortunately, this film doesn’t seem to have much of a point at all. DARRYL Empire of Light is a finely crafted film that, while touching on a number of subjects, fails to fully explore any of them. Even with outstanding performances from Olivia Colman and Micheal Ward, the story’s refusal to commit to any of its ideas overshadows the entire project. Somewhat lesser than the sum of its parts, the final product does not completely live up to its potential. Still, there is plenty to love, including top notch cinematography by Roger Deakins and impressive technical work from director Sam Mendes and his crew, making this a strong awards season contender. This film was reviewed by Nick, Adriano, and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE COUNT OF MONTE CRISTO Starring: Pierre Niney, Bastien Bouillon, Anaïs Demoustier, Anamaria Vartolomei, Laurent Lafitte, Pierfrancesco Favino, Patrick Mille, Vassili Schneider, and Julien De Saint Jean Directors: Alexandre de La Patellière and Matthieu Delaporte AMARÚ The Count of Monte Cristo is one of the most satisfying revenge stories ever told, having been adapted for the screen over 50 times around the world, with the 2002 version being one of my favorite films ever. So, of course, I immediately jumped on this year’s three-hour, French adaptation. Closer to the source material and bleaker than its U.S. predecessor, directors Alexandre de La Patellière and Matthieu Delaporte deliver a grandly dramatic telling that is visually stunning, superbly acted, and epically scored. I really shouldn’t have to say more because it’s The Count of Monte Cristo for goodness sake. So… I won’t. PRESTON I, like so many others, love the original novel on which this film is based, and I won’t criticize this modern adaptation for any departures it makes as this version of The Count of Monte Cristo is beautifully acted with impressive visual effects and captivating sound design. But it has two real problems: first is the reconciliation of the problematic facemasks for the time period, although the problem of recognition has always been a difficult thing to overcome in this story; second is the soft ending. That said, neither of these problems keep the viewer from an engaging and altogether satisfying experience, even at three hours. KATIE Romance, adventure, betrayal, revenge, heartbreak, and spectacle – The Count of Monte Cristo has it all. Despite the nearly three-hour runtime, Alexandre de La Patellière and Matthieu Delaporte’s film is fast-paced, efficient, and thoroughly entertaining, brimming with irresistible old-fashioned appeal yet offering a surprisingly modern take on a story that has been adapted countless times. It’s driven by excellent performances, especially Pierre Niney in the titular role, and stunning visuals, with opulent production design and sweeping cinematography that relishes every frame. If I get the chance, I’d run to see this thrilling epic on the big screen. QUENTIN I understand why your natural inclination may be to skip the latest version of The Count of Monte Cristo given that it’s three hours long and in French (not to mention the terrific 2002 version still exists). That said, you'd be doing yourself a disservice to give in to that feeling because this adaptation is lavishly beautiful and epic in ways that few action-adventure movies are these days. Even with the intimidating (but justifiable) runtime, it’s captivating due to the terrific performances, engaging characters, and exhilarating action sequences. Truth be told, I skipped it at Cannes because it seemed too daunting. Don’t make the same mistake.

THE COLOR PURPLE Starring: Taraji P. Henson, Danielle Brooks, Colman Domingo, Corey Hawkins, Gabriella Wilson ‘H.E.R.’, Halle Bailey, Phylicia Pearl Mpasi, and Fantasia Barrino Director: Blitz Bazawule ADRIANO As a lover of musicals, I really liked The Color Purple despite its flaws. The writing is the film's weakest link, leaving me feeling an emotional disconnect when I really shouldn't have. Plus, the arcs of all the characters except the lead feel rushed. Thankfully, the ensemble cast and Blitz Bazawule's direction do some heavy lifting. The performers are all great (Danielle Brooks is the definition of a scene-stealer), and the musical numbers, while not always super innovative, are well-lit, energetic, and incredibly well-choreographed. The ending honestly got me too. It's a mixed bag, but a rousing crowd-pleaser in the end. AMARÚ I was initially worried that The Color Purple ’s masterful musical numbers were going to make the film nothing more than a greatest hits version of the 1985 classic. It has the unenviable task of comparing to the original, and quick jumps from one recognizable plot point to another made some dramatic weight fall short. But as the film progressed, it found its own path to pay homage instead of play mimic. The beautiful sets, amazing songs, and dazzling choreography cements its musical leanings, and once it begins fully being its own movie, the talented cast takes the reins of this entertaining recreation. PRESTON It becomes quite obvious, very early, that this latest adaptation of The Color Purple is based on the stage musical rather than the previous film. While its style allows for the choreography, costume design, and vocals to shine, the opportunity cost for its constant musical numbers is that of developing the characters, which takes away from what should be a very deep and emotional connection to a tragic but inspiring story. The ensemble cast is particularly terrific, and there are a few goosebump-inducing moments, but too much was left on the table to make this a musical that I would revisit.

SHOWING UP Starring: Michelle Williams, Hong Chau, André 3000, Judd Hirsch, John Magaro and Maryann Plunkett Director: Kelly Reichardt PAIGE Showing Up is an awkward, tongue-in-cheek film that Michelle Williams carries on her shoulders. Just like her character's sculptures, Williams continues to come out glistening with new layers. The film also gives us a great supporting cast, and director Kelly Reichardt continuing her running theme of showing ways that one may care for others regardless if it’s out of duty or love. Still, as great as that all is, the film lacks a caring story, unfortunately. It just isn’t as intriguing as I had hoped. JACOB Showing Up finds director Kelly Reichardt operating in a slightly more casual mode, but it nonetheless remains successful thanks to a surprisingly funny script and two above-average performances from Michelle Williams and Hong Chau. Williams burrows into the deepest recesses of visual artists’ eternal struggle, and her vulnerability and anxieties are shown forth from her eyes at every turn (after all, the idea of broken dreams and struggle is very much the point here). It’s Chau, though, who ends up walking away with the film’s best moments, including a bit regarding one of the film’s other principle characters: a pigeon. This film was reviewed by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

REBEL MOON: PART TWO - THE SCARGIVER Starring: Sofia Boutella, Ed Skrein, Michiel Huisman, Anthony Hopkins, Djimon Hounsou, Doona Bae, and Ray Fisher Director: Zack Snyder CALEB I didn’t think it was possible, but somehow The Scargiver is actually worse than A Child of Fire . It’s an overdramatic, joyless, ugly film about a bunch of farmers fighting in a field. Since the worldbuilding and characterization were so pitiful the first time around, this sequel doesn’t have anything substantial on which to build. Director Zack Snyder attempts to flesh out the characters with a plethora of bothersome flashbacks, but they only succeed in making the universe even more convoluted and tiresome. The Scargiver is a tortuous cacophony of noise that only die-hard Snyder-heads will enjoy. NICK Unlike A Child of Fire , I went into The Scargiver with zero expectations, and even that didn't help. The performances maintain their inadequacy, while the music in particular stands out as even worse than last time. Everything feels like a misfire. I mean, it's honestly impressive Zack Snyder has managed to craft this expansive world across two films without a single interesting character. I hope for his sake that Snyder can see this for the failure it is and move on to something else. Forget about the R-rated versions. I'm sure they’re at least a slight improvement, but I’m not watching them. Just let this die.

INSIDE OUT 2 Starring: Amy Poehler, Phyllis Smith, Lewis Black, Maya Hawke, Ayo Edebiri, Tony Hale, Liza Lapira, Kensington Tallman, Paul Walter Hauser, Adèle Exarchopoulos, Kensington Tallman, Diane Lane, Kyle MacLachlan, and Lilimar Director: Kelsey Mann NICK To use a baseball analogy, Pixar has been hitting a lot of singles and doubles this decade. Hits, sure, yet nothing exceptional… until now. Inside Out 2 is a home run. The new emotions enhance the film’s relatability while a smart tonal shift accurately reflects the feelings of maturing. Life is messy sometimes, with unclear pathways, and this sequel reflects that. There are fewer laughs, yes, but it’s by design thanks to the mature look it takes at our thoughts, emotions, and the mental strain they can all take on us. It’s a superb film and should be required viewing for anyone growing up. AMARÚ Inside Out 2 i s an excellent follow-up to one of Pixar’s best. It naturally builds out the world of Riley’s (Kensington Tallman) mind to explore simultaneously complex and familiar themes. With its emphasis on a subject as heavy as Anxiety (voiced brilliantly by Maya Hawke), the script is surprisingly hilarious, and it balances the ensemble’s strengths even better than its predecessor. The story could’ve benefitted from an extra 10-15 minutes to further flesh out poignant ideas that sometimes are told instead of shown, but even that excess exposition is so heartfelt that it will resonate with kids, teens, and adults alike. ADRIANO Following Inside Out is a near impossible feat, but Inside Out 2 does an admirable job. I don't think it gets anywhere close to the impact of the first film, but it comes close with its new approach and world expansion. There's sincere fun here, and some moments got me, even if it wasn't quite the gut punch that I was hoping for. The additions to the cast are very welcome, namely Maya Hawke, although Tony Hale didn’t impress me at all. Overall, it was another great Pixar outing, but nothing outstanding. PRESTON Insightful, truthful, emotionally engaging, funny, and endlessly clever; Inside Out 2 delivers as a sequel, easily matching its predecessor’s charm. We can picture these emotions in our own heads, and nostalgically look back on our most awkward and vulnerable moments that allow us to personally connect to these characters at every level. I have my own proclivities toward a slightly pessimistic and anxiety-ridden inner narrative, and even as I digress, Inside Out 2 wraps me in its loving embrace of acceptance. It can be warmly regarded as entertainment and as reassuring therapy concurrently. A must watch for all ages. SHADAN Recent disappointments have made me weary of Pixar sequels and off-shoots, but Inside Out 2 delivers the creativity, humor, and heart that I used to expect from the animation powerhouse. Of the new emotions introduced, Anxiety (Maya Hawke) steals the show, as it does with most teenagers, an authentic and well-executed addition. Much like the original, Inside Out 2 drags in the middle when the characters venture off into the recesses of Riley's (Kensington Tallman) mind, and there's a missed opportunity to fully flesh out new characters. Still, the clever banter, spirited voice-acting, and stunning animation more than make up for any faults.

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.

SPIRITED Starring: Ryan Reynolds, Will Ferrell, Octavia Spencer, Sunita Mani, Patrick Page, Tracy Morgan, Joe Tippett, and Marlow Barkley Director: Sean Anders ADRIANO I’m a simple man. I see a light-hearted movie that fills me with Christmas spirit, and I’m gonna like it. As such, I was able to get past the obvious flaws of Spirited . While most of the jokes miss, the majority of my laughter came from the natural comedic charm of Will Ferrell and Ryan Reynolds. However, despite some interesting shifts from the source material, the film remains predictable. All that said, Spirited achieved its goal of being a fun Christmas film filled with joy and whimsical musical numbers, so it’s hard for me to consider it a waste of time. QUENTIN Look, Spirited isn’t what I would call “good.” It’s too long, there are way too many musical numbers (the recurring, almost fourth-wall-breaking jokes pointing out the abundance of song-and-dance sequences don’t make them less exhausting), and it’s predictable despite some interesting diversions from the Charles Dickens’ classic. That said, it has enough charm, shiny entertainment value, sarcastic sincerity, and cast chemistry to function as a movie that plays in the background while opening presents on Christmas morning. Also, I’d watch an entire movie on Tracy Morgan’s Ghost of Yet to Come. PAIGE Spirited is a merry musical that allows two of the funniest men in the business, Ryan Reynolds and Will Ferrell, to have fun doing some song-and-dance routines. However, it may have worked a wee bit better if our two leads had switched roles, and if some of the musical numbers didn’t give the film such whiplash. Overall, it’s a little rough around the edges, but still a cute twist on A Christmas Carol that is filled with a bunch of laugh-out-loud moments to get you in the Christmas spirit. JACOB As hard as I tried to come around on it over the course of its far-too-long runtime, Spirited is truly very bad, and it only gets worse the more I think on it. Beyond the haphazard bungling of its themes, the film continually insists on bringing up conflicts, then abandoning those conflicts for different ones without actually paying anything off in a meaningful way. Even the musical sequences feel derivative; the slow ones all sound the same, while the upbeat numbers also sound too similar. Despite a few decent jokes here and there, even its central comic duo falls painfully flat.

SLY Starring: Sylvester Stallone, Frank Stallone, Arnold Schwarzenegger, Henry Winkler, John Herzfeld, Wesley Morris, and Quentin Tarantino Director: Thom Zimny NICK Much like Netflix’s Arnold earlier this year, Sly plays it too safe. Its strength is in discussing everything that went into the Rocky franchise from the mouth of Sylvester Stallone himself, and it’s evident how much thought and care has been put into the iconic character. Beyond that, it’s a little unremarkable. It zooms past his non-franchise film career, and it never dives into his hardships with any depth. I understand that Stallone tries to maintain a level of optimism and was likely very hands-on with this project, but I don’t feel like I know the man any more than I did going in. ADRIANO As a lifelong fan of Sylvester Stallone, it saddens me to say that Sly is predictably self-pandering. I wanted a deeper look at his life, not just his career, but the movie takes most of its runtime to talk about how Stallone created his famous franchises (a lot of the movie is just about Rocky ). As a fan, that's fun, but it's not worth my time when I'm after a little bit more. Not that his personal life isn't touched on at all, but not nearly enough to be insightful. Is it an easy watch? Absolutely. Will I watch it again, though? Probably not. QUENTIN Though perhaps a bit too long and too focused on Rocky , Sly remains an interesting and honest portrait of Sylvester Stallone. It’s less self-aggrandizing than Netflix’s Arnold , and I can genuinely say that I came away with more insight into the man. That said, I also was left just a little wanting. Obviously, with a 77-year-old subject that has had such a lengthy career, it’d be near impossible to cover everything, but there are aspects of his life that I wish it had touched on more, including certain film failures and his rivalry with Arnold Schwarzenegger. Still, a great watch for fans of the icon. PRESTON Sly is a kind of one-on-one, but lightly assisted, documentary from and about the man himself, Sylvester Stallone. It can be easy for someone to look upon the past with rose-colored glasses and attribute too much to the meaning behind past accomplishments. In this case, I believe Stallone to be insightful and his attributions to be admirably objective, but you can tell that he is protective of his family, which leads us down a safer and narrower path that hinders the film’s potential. Nevertheless, Rocky fans and general Stallone enthusiasts alike shouldn’t hesitate to queue this one up. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

BOSTON STRANGLER Starring: Keira Knightley, Carrie Coon, Chris Cooper, Alessandro Nivola, Rory Cochrane, David Dastmalchian, Morgan Spector, Robert John Burke, and Peter Gerety Director: Matt Ruskin QUENTIN To me, the best part about journalism movies is the discovery that comes with the investigation. Those “a-ha!” moments when the reporter finally finds a break in the story. Sadly, while Boston Strangler is a fine movie with some solid performances (Keira Knightley with an American accent is discombobulating), it lacks that extra oomph that is present in similar movies like Zodiac and Spotlight . Don’t get me wrong, I definitely learned things about the case, but the revelations just fall a little flat. Still though, considering this is a Hulu original, there isn’t too much to complain about. PAIGE As a chick from Massachusetts, I’ve always heard stories about the Boston Strangler, but this film brings the investigative side of the story to life from the perspective of two women reporters in the 60s. The film dives right into the plot, but decides to focus more on the sexism that these women dealt with while trying to expose the truth and less on the brutality of the actual crimes. While it lacks suspense, it's still a solid film that’s worth watching for the fine performances from Keira Knightley and underrated Carrie Coon.