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THE PALE BLUE EYE Starring: Christian Bale, Harry Melling, Gillian Anderson, Lucy Boynton, Charlotte Gainsbourg, Toby Jones, Harry Lawtey, Simon McBurney, Timothy Spall, and Robert Duvall Director: Scott Cooper AMARÚ So you know, 1999’s Sleepy Hollow is one of my favorite movies, and The Pale Blue Eye is very reminiscent of that Johnny Depp thriller since both feature a stacked cast, dulcet tones, and devilish mystery. However, where Sleepy Hollow is compelling, this is stale. As entertained as I was in ‘99, Eye is a tedious struggle. Outside of Poe’s (Harry Melling) inspiring game of wits with Landor (Christian Bale), each piece of dialogue feels like a boring, pompous, 10-minute monologue to no one in particular. Thank god for Bale’s and Melling’s aptitude though, or I would remember nothing from this film. QUENTIN Though it boasts committed performances and a suitably gothic atmosphere, The Pale Blue Eye isn’t entirely sure what it wants to be. It starts and ends as a murder mystery akin to From Hell , but the middle sections boringly meander about the developing partnership between Detective Landor and Edgar Allan Poe (Christian Bale and Harry Melling, respectively). Then, there is a completely tacked on second ending. Since the story focuses more on the two investigators than the murder, the mystery has very little momentum to hold your interest, which, when combined with the low-lighting and foggy cinematography, make for a very sleepy watch. JACOB As excellent as Christian Bale is and as much as Harry Melling thoroughly embodies Edgar Allen Poe, The Pale Blue Eye is slightly lesser poetry from director Scott Cooper. The mystery itself ultimately works, but it’s too thin for any true thematic weight to lift once the admittedly unexpected twist is revealed and recontextualizes what came before. Couple that with a narrative that meanders more than it moves, and there’s not much to write home about apart from some solid costume design and the engaging interplay between Bale and Melling. For January, it’s not bad…but it could have been better. PAIGE The Pale Blue Eye will definitely differ from viewer to viewer, and while I like an atmospheric whodunnit, gothic horror films aren’t really my vibe, especially slow burn ones like this that take their sweet time. Don’t get me wrong, it has great performances and it’s a well made film, but it’s not what I hoped for when it comes to an Edgar Allen Poe story. I’m going to be honest with you, it’s a bore. The runtime dragged me through the snow a bit, but for others, it may be an intriguing mystery worth investigating. JOSEPH If I could summarize The Pale Blue Eye in one word, it would be “dull.” It is a nonsensical detective story that never feels mysterious or intriguing. Christian Bale does his best, and despite a good performance, he alone can not save the film. Harry Melling doesn’t shine as Edgar Allan Poe, but he tries, and the historically inaccurate Foghorn Leghorn impression does him no favors. It’s the final twists that really killed the film for me, though. Still, I must admit the costumes and cinematography are gorgeous, so at least it’s not a total loss, just a disappointment.

THE FIRST OMEN Starring: Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Ralph Ineson, and Bill Nighy Director: Arkasha Stevenson ADRIANO For a film with so much seemingly going on, I found The First Omen remarkably dull. The film is good at building tension from scene to scene, but I wish it had relied less on atmosphere and creepy imagery and more on jump scares and grisly gore to get the audience to react. Nell Tiger Free is a fantastic lead, though; however, in the end, I found the film to be a wholly forgettable experience, with one absurdly laughable final scene attempting to get an applause break by connecting it to the original film. NICK You may enjoy The First Omen as long as you don’t think about it too hard. If so, you’re bound to scratch your head due to its habit of leaving unanswered questions. This extended build-up to the story of Damien (which the film treats as if it’s a big reveal in spite of the film being called The First Omen ) does an adequate job setting up the character’s future. However, the majority of the film can be a bit of an arduous journey to reach its ultimate destination. Points for setting the table, but Damien needs to pick up the pace if he’s getting a follow-up. PRESTON The First Omen is a refreshingly creepy prequel that revives a classic storyline. Its biggest success lies in its alignment with the original series several decades later and the sufficiently eerie storyline that doesn't overly rely on jump scares and similarly cheap shenanigans to induce fear, even if the scariness factor isn’t off the charts. The main issue is an overlong runtime that struggles to keep its audience engaged, but the actual scene-by-scene editing is quite exceptional. Good acting and great cinematography round out a very respectable outing for this struggling genre.

GHOSTBUSTERS: AFTERLIFE Starring: Mckenna Grace, Finn Wolfhard, Logan Kim, Celeste O’Connor, Carrie Coon, and Paul Rudd Director: Jason Reitman ADRIANO Despite the odds, Ghostbusters: Afterlife works. Director/co-writer Jason Reitman revives the franchise in a way that pays homage to the original while also making it feel fresh. It somehow maintains the magic of the 1984 version, feeling both fun and genuinely scary at times, and serves as a lovely tribute to Harold Ramis. The whole cast is amazing, but Mckenna Grace nails it as the lead. I had a few issues with the script and a couple nostalgia-driven moments made me roll my eyes, but that aside, this is a revival that sticks the landing. NICK With original director Ivan Reitman's son, Jason Reitman, stepping into the director’s chair, Ghostbusters: Afterlife is a love letter to the original films. The cast breathes new life into the series with Mckenna Grace having a breakout moment, while some key cameos will appease longtime fans of the series. There are laughs, scares, and even some tears. Reitman nailed it with this one. He has managed to make a film that fits firmly into the Ghostbusters universe that still works as a standalone film with the potential to relaunch the franchise. Well done. QUENTIN Ghostbusters: Afterlife doesn’t do anything “wrong” necessarily, but the only thing it does exceptionally “right” is the nostalgia porn. From the not-so-secret cameos to the general atmosphere, it genuinely feels like it could be an 80s movie as opposed to a movie trying to recapture 80s magic. However, it skews much younger, feeling more like Goosebumps than a Ghostbusters sequel. That’s not necessarily a bad thing, but it does come off a tad neutered. The jokes are vanilla, the emotional bits are wavetop, and it doesn’t expect much from its audience. Older fans should adjust expectations. JACOB Although Ghostbusters: Afterlife presents itself as a singular adventure, it eventually reveals itself to be two stories in one. However, neither story is completely fleshed out, as you only get the end of one and the beginning of another. That’s not to say it’s bad. It’s generally polished, but it spends more time trudging up nostalgic memories than it does telling its own tale. While the attempts at humor are admirable, they mostly fall flat. A lot of this movie seems to work on the surface, but unlike the film’s setting, there’s hardly anything lurking beneath.

DEEP WATER Starring: Ben Affleck, Ana de Armas, Tracy Letts, Lil Rel Howery, Dash Mihok, Finn Wittrock, Kristen Connolly, Jacob Elordi and Rachel Blanchard Director: Adrian Lyne QUENTIN When watching an erotic thriller (especially one from director Adrian Lyne), one generally expects eroticism and thrills. Deep Water has neither. What it has is an underwritten story with an “uhh, that’s it?” ending, nonsensical character motivations, and, for some reason, snails. Also, considering they were dating during filming, how do Ben Affleck and Ana de Armas have absolutely zero chemistry? In any event, Deep Water is an often laughably bad movie that attempts to capture the trashiness of the aggressively sexual movies of the 90s, yet fails in achieving the titillating sexiness that would at least make it suitable for “Netflix & Chill.” PAIGE The new erotic thriller Deep Water offers some nice cat-and-mouse elements before drowning in, well, deep waters. The film’s setup is interesting, but there is just no meat to the story. With such a thin plot, it presents zero accountability or consequences for either of the lead’s behaviors, leaving characters that should be multilayered to be shallow. Overall, the film leaves you with more questions than answers, and, to be quite honest, it’s as dull and slow as a snail.

CHA CHA REAL SMOOTH Starring: Cooper Raiff, Dakota Johnson, Leslie Mann, Brad Garrett, Vanessa Burghardt, Evan Assante, Raúl Castillo, and Odeya Rush Director: Cooper Raiff PAIGE Cooper Raiff’s ambition as a writer, director, and actor is breathtaking, and he is forging his own path as a filmmaker by focusing more on characters and their growth as people first and foremost. Cha Cha Real Smooth is “Exhibit A” by being more than a love story, and its themes go so much further. It’s charming, heart-warming, and grounded. The cast’s chemistry feels so authentic and real that I fell in love with these characters to the point that I didn’t want to leave them when the film was over. It proves Raiff is an exciting young filmmaker to be on the lookout for. AMARÚ Writer, director, and lead Cooper Raiff bodied everything about Cha Cha Real Smooth . His portrayal of Andrew is fully authentic, and his palpable chemistry with everyone is a testament to his direction. Whether sparks fly with Dakota Johnson (Domino), compassion brims with Vanessa Burghardt (Lola), or love overflows with his family (Evan Assante, Leslie Mann, and Brad Garrett), there isn’t one unfulfilled moment. While some scenes feel cut off due to budgetary restrictions, the film’s honest writing says the things in life we try to hide out of fear and elevates it to being one of this year’s most satisfying movies. NICK Cha Cha Real Smooth is a film that delivers a wonderfully authentic portrayal of autism through solid performances across the board. It also features a sweet, relatable story, regardless of faith. So, why didn’t I love it? I liked it, sure, but something kept it from reaching that next tier for me. It just felt like a lot of “good,” but not a lot of “great.” Based on the love it’s been getting both critically and by my peers, I’m clearly in the minority, but this one just didn’t do enough to warrant that praise from me. JACOB The sophomore effort of director Cooper Raiff, Cha Cha Real Smooth , finds its star in even finer form as a filmmaker. The Shithouse helmer possesses the uncanny ability to mimic the softer sides of Richard Linklater without losing his own voice in the process, navigating conflicts with permeating empathy and enveloping warmth. Whereas his previous film felt more like a chapter than a full story, Cha Cha takes that same formula and stretches it to its logical endpoints without outright villainizing anyone. Raiff and co-star Dakota Johnson have genuine chemistry, and their individual connections with scene-stealer Vanessa Burghardt are palpable. ADRIANO Cha Cha Real Smooth played with all of my feels. I watched this film soon after my 21st birthday, and as a result, it couldn’t have hit closer to home. The anxiety and fear that the lead character feels in this era of his life is accurately represented, but never in a purely negative manner. In fact, director/writer Cooper Raiff portrays these feelings honestly and in a light and hopeful way. The movie is extremely funny, even as it goes into serious territories, and I appreciated the film for that. This is a tender film that I can see myself watching again and again.

KNOCK AT THE CABIN Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Abby Quinn, Rupert Grint, and Kristen Cui Director: M. Night Shyamalan DARRYL Knock at the Cabin shows that director M. Night Shyamalan still has gas left in the tank because this wonderfully directed and excellently paced movie fires on all cylinders. It’s an apocalyptic thriller that keeps the audience questioning who to believe, which creates an experience that will leave moviegoers thinking after the credits roll. Dave Bautista, Jonathan Groff, and Ben Aldridge are a fine leading trio, while the supporting cast conveys a desperation that makes the tension palpable. Overall, it highlights Shyamalan’s best traits, and it will go a long way to reminding viewers why they fell in love with his movies in the first place. NICK Knock at the Cabin opts for foreboding dread over the typical twists and turns you'd expect from an M. Night Shyamalan film, which makes it all the better. The film still features many of the director’s hallmarks, but he uses them in more subtle ways. This both builds suspense throughout and allows the performance of Dave Bautista, in particular, to really shine through. This is easily Bautista’s most emotionally driven showing yet, as he continues to show his range as an actor. The dialogue can be clunky, and I’m not sure I loved the ending's direction, but Shyamalan has continued his current streak of quality films. AMARÚ Director M. Night Shyamalan immediately sets an eerie tone in Knock at the Cabin . The film’s candidness is informed early on by introducing the movie with increasingly skewed close-ups during a conversation between standouts Dave Bautista (Leonard) and Kristen Cui (Wen). We’re diving headfirst into an unbelievable tale with full conviction. Interspersing the backstory of Wen’s family with the main plot allows us to trust both the doomsayers’ belief in their hellish task and the incredulousness of Wen’s family towards them. The honest cast, intense pacing, and bleak story create one of the more solid thrillers in M. Night’s filmography. ADRIANO However low the bar may be, Knock at the Cabin is not M. Night Shyamalan’s worst movie. He does a good job of building tension via the story’s thin concept, and he offers up a good moral question to boot. Also, it’s well acted across the board (namely Dave Bautista and Ben Aldridge). However, a lot of Shyamalan’s signature faults are here, such as awkward dialogue and bizarre cinematography choices, and all the tension is leading up to an inevitable ending that catches nobody by surprise. I was entertained for the most part, but still a whiff. JACOB Knock at the Cabin may be a complicated movie for M. Night Shyamalan fans to digest. Despite the director’s reputation, this might be his most straightforward movie ever, as well as one of his most bleak. Dave Bautista continues his streak of bringing unexpected humanity to otherwise dark characters, and Ben Aldridge gets a real chance to shine; however, the movie is pretty choppy in its editing, and the constant cutting to flashbacks releases a lot of tension in key moments where it’s needed. Overall, it’s not near M. Night’s top skills, but it’s far from his bottom. PAIGE Knock at the Cabin is a nail-biting home invasion thriller that keeps the tension boiling from start to finish. While it may not be director M. Night Shyamalan’s boldest film, it’s certainly his most grounded. It tackles themes of faith and sacrifice while making you wonder if you could make the decision at hand. Plus, its tight pacing allows the cast to deliver standout performances, especially from Dave Bautista. All that said, it’s definitely the type of film that is more tell than show. Overall, it just felt too straight forward to be an M. Night flick.

AMBULANCE Starring: Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza González, Garret Dillahunt, Keir O’Donnell, Jackson White, Olivia Stambouliah, and Cedric Sanders Director: Michael Bay JACOB Though far too long and marred by the director’s usual pitfalls, Ambulance might well be director Michael Bay’s best movie since 2007. Sleek, simple, and bound by unusual restraint for Bay, the hyper-edited thriller can occasionally be way too into itself, but it all balances out after a while. Jake Gyllenhaal’s over-the-top performance doesn’t quite work all the way, but thanks to a genuinely good Yahya Abdul Mateen-II and an underrated Eiza González, the film remains as engaging to watch as they are. Even if there are too many drone shots, I can see myself revisiting these kinetic action sequences again. ADRIANO Ambulance didn’t work for me at all. I am not exaggerating when I say this movie gave me a splitting headache. I’m generally not a fan of Michael Bay's style of filmmaking anyway, but his style is on overdrive here, from his obnoxious use of cuts making it hard to understand what is happening to the absurd amount of drone shots that definitely caused my headache. Top that with a nonsensical story, and I was sprinting out of the theatre when the credits rolled. People seem to like this though, so check it out if you want, but this wasn’t for me. QUENTIN Ambulance feels like a Michael Bay movie from the 90s. In fact, it seems directing this movie, only his fourth non-Transformers movie since 2005, has downright rejuvenated him. He even goes as far as to reference both The Rock and Bad Boys , as if to say “Watch out! I’m back on my bullshit.” That said, you know what you’re getting with Bay: loud, bombastic action that is light on story and even lighter on logic. But it works. It’s predictable and slightly too long, but it’s tense, well-acted, and action packed. For better or worse, it’s everything you want and expect from Bay.

FLIGHT RISK Starring: Mark Wahlberg, Michelle Dockery, and Topher Grace Director: Mel Gibson NICK As polarizing as Mel Gibson is, his ability as a director is rarely in question. That’s why it's hard to believe he directed Flight Risk . Although Mark Wahlberg tries his best with what he's given, the film is severely challenged in both its writing and the aforementioned direction. Had Gibson decided to make a tension-riddled thriller with Wahlberg playing a maniacal villain, this could have worked. Hell, even if he went the other way, building up the ridiculousness to go for some wacky dark comedy, things may have worked. Instead, he did neither, which results in a film that decidedly does not work. ADRIANO Yeah, it's January alright because I'm almost at a loss for words at how bad Flight Risk is. You can fall back on the excuse that it's a B-level thriller made to feel like a silly straight-to-DVD movie all you want, but I'm not exaggerating when I say nothing happens in this movie. Mark Wahlberg going nuts is a little entertaining, but he's just unconscious in the background for the most part. Otherwise, this movie is tensionless, the humour is really cringe, and it features possibly the most forced romance in cinema history. This has basically no redeeming qualities.

OPERATION FORTUNE: RUSE DE GUERRE Starring: Jason Statham, Aubrey Plaza, Josh Hartnett, Cary Elwes, Bugzy Malone, Hugh Grant, Peter Ferdinando, and Eddie Marsan Director: Guy Ritchie QUENTIN This review probably will sound more negative than I intend it to, but above all else, know this: Operation Fortune is tremendously entertaining. If you like stylized action and director Guy Ritchie’s signature banter, you’ll enjoy yourself. That said, it’s very rushed, and despite everyone on screen having a ball, their characters don’t ultimately matter. They are merely pawns to move the breakneck story to the next spy-themed set piece as quickly as possible (which leads to some really sloppy edits). It’s like…if Mission: Impossible is orange juice, Operation Fortune is Sunny D – similar and not near as good, but still serviceable in its own way. AMARÚ Though not as tight as his best fare, Guy Ritchie’s Operation Fortune brings together everything you love about his films. His regular collaborators are having a blast (I’m particularly fond of Bugzy Malone), but it’s the fun that newcomers Aubrey Plaza, Cary Elwes, and Josh Hartnett are having that make Ritchie one of my favorite directors. His fast-paced, cat-and-mouse mysteries, witty screenplay, and massively entertaining characters very rarely miss. Fortune’s plot is straightforward and the dialogue is slightly ham-fisted, but the overall product is as rewatchable as Snatch and The Gentlemen . And that, my friends, is a success. DARRYL Operation Fortune is enjoyable for what it is: a Guy Ritchie vessel for actors to spout cheeky one-liners and look stylish while doing it. Jason Statham and Aubrey Plaza get to physically joust with one another, while Josh Hartnett and Hugh Grant make for a ridiculous pairing. Though incredibly light on actual plot outside of “Keep the McGuffin Away from the Bad Guys,” it's still an entertaining watch if all other options have been exhausted. Ritchie proves he still knows how to utilize Statham in the best ways possible, and his eye for action sequences has rarely been sharper. JOSEPH It’s safe to say that Operation Fortune is the Guy Ritchie-est film Guy Ritchie has ever made, with its suave subversion of gentlemen spy characters and engaging, though difficult to follow, plot. The cast works well together, especially Aubrey Plaza, who gives the femme fatale trope a welcome twist, and Hugh Grant unsurprisingly steals nearly every scene he’s in. But the action scenes leave something to be desired, even if the amount of tension that builds up to them is a ride in itself. Spy movies aren’t typically my thing, but Operation Fortune is a blast.

WE HAVE A GHOST Starring: Jahi Di'Allo Winston, Niles Fitch, Anthony Mackie, Erica Ash, David Harbour, Isabella Russo, and Tig Notaro Director: Christopher Landon AMARÚ There is a much better movie hiding somewhere in We Have a Ghost, but it never settles itself enough to find it. Whether it’s the intriguing family drama that isn’t fully explored, the tense mystery thriller that is sidelined for an oh-so-cliché government conspiracy, or the kooky supernatural family comedy with a cringeworthy social media side story, each section has merits amongst its flaws. The charming cast could’ve carried those flaws well if there was a consistent tone, but haphazardly stitching tonal shifts together every 30 minutes halts any momentum the cast generates, accentuating the messy script to the film’s detriment. JOSEPH Borrowing elements from other bizarre family films such as E.T. , Casper , and Beetlejuice , director Christopher Landon’s latest film, We Have a Ghost , treads no new water. While the cast is great, there are far too many ideas at play, never allowing this relatively straightforward tale to set a proper tone. Along with that, the film is far too safe, rarely leaning into its campier elements, nor does it feel like a true mystery. It’s a shame too because there are funny and surprising moments, but they’re just not consistent enough. Ultimately, it has some charm, but it's mostly forgettable. PAIGE Director Christopher Landon has stepped away from his horror comedy norm for a more lighthearted and family friendly ghost story with Netflix’s new original film We Have a Ghost . The flick is mostly a mix of Casper and The Haunted Mansion , with a dash of a modern twist, and while the film tries to conjure up some supernatural jokes and scares, they unfortunately fail miserably. The overall story just feels too weak, all the way down to its bones. I expected more of the witty writing Landon delivered with Happy Death Day and Freaky , but this is nothing more than a run-of-the-mill family haunting tale. NICK With two Happy Death Day movies and Freaky , director Christopher Landon has shown a knack for horror comedy. We Have a Ghost , however, isn't really either of those genres. It has hints of both, but the vibe is more akin to a family film with horror elements, like The Haunted Mansion or Monster House . It certainly takes a while to get going, and the tone changes with rapid succession, but it hits its stride in the latter hour to become a surprisingly moving film. Yes, there’s some modern cringe and things can be a tad ridiculous, but it is a ghost story after all. QUENTIN For what it is, We Have a Ghost isn’t terrible, but I’ve just outgrown this type of movie. At almost 42-years old, sanitized horror comedies with coming-of-age storylines just aren’t for me anymore. That said, I probably would have really dug this movie as a middle schooler, as it would sit comfortably on the shelf next to similar movies from my youth like Casper and Little Monsters . Everything about it – the humor, the scares, the action – is played too safely, which could make this a solid addition to Halloween movie night with the little ones, but it’s probably skippable for most adults.

CAUSEWAY Starring: Jennifer Lawrence and Brian Tyree Henry Director: Lila Neugebauer NICK The concept of subtle storytelling is underrated, and Causeway is a great example of that. This story of healing and coming-to-terms thrives on the excellent performances from Jennifer Lawrence and Brian Tyree Henry. Although both are more subdued than their usual fare, their performances are among their very best. The film has some pacing issues, which brings its overall success down a tad, but the strength of the two leads at the top of their game is more than enough for this film to warrant a recommendation from me. ADRIANO Underneath the film’s soft-spoken surface, there is a lot to appreciate about Causeway . It’s a short, subdued film about the healing process of a veteran, and while ditching any over-the-top melodrama may turn some people away, it made the film more engaging and interesting for me. Jennifer Lawrence and Brian Tyree Henry are both fantastic, complimenting the film’s tone flawlessly. Honestly, most of my issues are nitpicks (the ending is a little abrupt, for example), but I definitely see this as a film I’ll have no problem revisiting. QUENTIN I’ll be honest, I don’t have a ton to say about Causeway . It’s a perfectly fine movie, but not one that I am rushing to tell people about. In fact, of the 40ish movies I saw at TIFF, it was the most forgettable. It just hasn’t stuck with me, good or bad. While I admit that I’ve never been a huge Jennifer Lawrence fan, she does a solid job here in an unusually restrained performance, but she is overshadowed by Brian Tyree Henry, who continues to prove that he’s more than just Paper Boi from Atlanta . Aside from that, I dunno. It’s just…*shrug emoji* PAIGE Causeway is a compassionate film from Lila Neugebauer (in her directorial debut) that looks at the prolonged effects of trauma and the struggles that come with trying to move past them. The film’s plot may be considered a quiet, slow burn, but the performances are compelling enough to keep your interest high. The chemistry between Jennifer Lawrence and Brian Tyree Henry is the glue to this film, and it will certainly pull at your heartstrings. Also, while Lawrence may be the name that catches your attention, it’s Henry that steals the spotlight. AMARÚ Brian Tyree Henry is a premier actor of this generation. That’s really the gist of what needs to be said about Causeway . This story about two people trying to find friendship through trauma is a good watch, but it’s slightly sluggish due to “nothing happening” unless Henry is on screen bringing more life to a solid Jennifer Lawrence performance. Aside from one powerful prison sequence in the final act, you’re mostly just waiting for Henry to come back on screen between his appearances. Still, with only a 90-minute runtime, the wait isn’t laborious…just a little drab. JACOB Causeway may not ultimately count as essential viewing, but if one can appreciate its innate subtlety, it’s a rewarding experience nonetheless. The film’s script is decidedly more nuanced than most films about PTSD are, specifically where it concerns veterans, and while it’s certainly a present issue, it’s never exploited or exaggerated for effect. Jennifer Lawrence gives her most intimate and personal performance to date, while Brian Tyree Henry continues to be one of the most undervalued performers working in movies today. Every scene the two share are the movie’s strongest by far. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

AFTERSUN Starring: Paul Mescal, Frankie Corio, and Celia Rowlson-Hall Director: Charlotte Wells JACOB It’s a softer landing than one might expect from an A24 project, but Charlotte Wells nonetheless impresses with her directorial debut in Aftersun . Featuring a Paul Mescal performance that is equal parts charming and heartbreaking, as well as a stunning supporting turn from Frankie Corio, the movie’s themes of mental illness and its many claws ring quiet but crystal clear. Wells’ script is delicate, able to balance on a needle-width thread without ever needing to veer into emotional manipulation or away from realism. It's a truly moving film that only gets better the more one thinks on its many strengths. ADRIANO Let me start off by saying that this film won’t work for everyone. It is very slow and requires tons of critical thinking. Personally, though? I was engrossed by Aftersun , a film that explores the way we view our parents and addresses depression in a truly unique and accurate way. Paul Mescal is fantastic, and Frankie Corio is an absolute revelation in a film that is made with such nuance and empathy that it shattered my heart by the end. I implore everybody to give this film a chance. PAIGE A24 has flourished this year by producing some amazing gems, and I’m glad to say Aftersun is no different. A stellar directorial debut from Charlotte Wells, the film is anchored by the charming performances of Paul Mescal and its young rising star, Frankie Corio. Overall, it’s a beautifully heartfelt film about the passage of time through the lens of a father/daughter relationship, further diving into the desire to preserve shared memories. For that, this film is so precious in my mind, and it was one of my favorite films coming out of the NYFF. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival, as well as by Jacob and Paige as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.