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C'MON C'MON Starring: Joaquin Phoenix, Woody Norman, Gaby Hoffman, and Scoot McNairy Director: Mike Mills NICK Nothing about C’mon C’mon feels like fiction. At times, it’s like a documentary, but it mostly feels like you’re watching people live their lives. It’s earnest, honest, and surprisingly philosophical. That said, its combination of slow pacing and the black and white colour palette hold it back from some much needed vibrance. Overall, this will be a polarizing film, as I can see people loving it and I can see people frustrated by it. However, the performances by Gaby Hoffman, Woody Norman, and Joaquin Phoenix (in the most natural showing of his career) were enough to keep me engaged throughout. JACOB The enveloping warmth of C’mon C’mon cannot be overstated. Writer/director Mike Mills’ film is one of the year’s very best, imbued with philosophical curiosity, wonder, and deeply human vulnerability. Shot in gorgeous, crisp black and white, it wraps viewers in a warm hug and fills them with meaningful contemplation through terrific performances and a mesmerizing musical score. Joaquin Phoenix is as natural as he has ever been, while Gaby Hoffman is an instant favorite; however, it’s Woody Norman that steals the show, turning in maybe the best child performance I’ve seen in the last decade. ADRIANO C’mon C’mon is a beautiful film that simply kept me smiling throughout the vast majority of its runtime, and it might be writer/director Mike Mills’ best movie to date. It is very well shot (even if I don’t fully understand why it was shot in black and white), and Joaquin Phoenix is amazing as usual. However, newcomer Woody Norman really steals the show, and the bond between him and Phoenix, paired with Mills’ soulful look at life, is easily what makes this movie as sweet as it is. I would seriously recommend this movie to anybody.

MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE Starring: Tom Cruise, Hayley Atwell, Rebecca Ferguson, Simon Pegg, Ving Rhames, Pom Klementieff, Vanessa Kirby, Shea Whigham, Esai Morales, and Henry Czerny Director: Christopher McQuarrie AMARÚ Every time I rewatch a Mission: Impossible movie, I forget about the well-placed humor that imparts a believable humanity amidst the extravagant stunts. Dead Reckoning Part One has that same humor, but somehow lacks the same humanity. There’s an artificiality that replaces the previous entries’ groundedness with action-movie platitudes. Don’t get me wrong, it’s still a damn good film. The action is incredible, the cat-and-mouse games are riveting, and every actor is eating, with Hayley Atwell and Pom Klementieff being especially brilliant additions. So, while it might be a lower-level franchise entry, it’s still better than most 21st century action films. NICK The Mission: Impossible franchise is not secretive about what it provides: action-packed team-ups led by Tom Cruise doing increasingly insane stunts. In that sense, this is one of the best films in the franchise. Beyond that, it's a little perplexing. This entry is light-hearted and almost campy until a big tonal shift finds it settling into the feel of the more recent offerings, and it's jarring to go from jovial to terrifying realism. But, are the set pieces enough to mask that? Between the car chase and the train sequence, I’d say yes. Plus, unlike the recent Fast X , this actually has an ending. ADRIANO Dead Reckoning Part One is more proof that this is one of the finest ongoing action franchises. It’s not perfect, mind you. It’s a tad too long and feels overstuffed sometimes, and while not everybody gets the attention they require, the entire cast is great, especially Hayley Atwell, a very welcome addition. Yes, Tom Cruise driving a motorcycle off a cliff is wild, but the intense, action-packed, and well-thought-out plot is what kept me engaged throughout. Plus, despite ending on a cliffhanger, it feels complete. This is a mission you should choose to accept. QUENTIN If nothing else, Dead Reckoning Part One proves just how good the Mission: Impossible franchise has been because it is simultaneously among the year’s best action movies and the third worst entry of the series. On the plus side, the action set pieces are tremendous, there is a surprising amount of humor, and Hayley Atwell (and even Pom Klementieff) makes the case that she should be a bigger star. On the downside, there is A LOT of often confusing exposition, and the villains – both The Entity and its personification in Esai Morales – are, frankly, played out and dull. Still, it’s a great time at the theater. JACOB Although it doesn’t quite reach the heights of Fallout , and it does encounter the issue of not entirely feeling like a complete story, Dead Reckoning Part One nevertheless re-establishes Mission: Impossible as the most reliably good action franchise in movies today, not to mention that Tom Cruise might be our most valuable producer. A prime summer blockbuster with a pulse for excitement, the film takes a somewhat more deliberate approach to building its stakes while still making time for fantastic action sequences and more spy intrigue. Hayley Atwell and Pom Klementieff are welcome additions to the franchise too. Bring on Part Two ! PAIGE Tom Cruise is back with another adrenaline-fueled Mission: Impossible film, a series that seems to get more and more ballsy with its insane stunts. Dead Reckoning Part One is filled with spectacular set pieces, and for a movie that is almost three hours long, it flies by because of all the entertaining action sequences. However, while the film is nonstop fun, it does suffer a wee bit from “part one” syndrome, setting up groundwork for what is to come next. It also has one of the weakest villains in the whole franchise. Still, I can’t wait to see what Part Two has in store for us!

SAW X Starring: Tobin Bell, Shawnee Smith, Synnøve Macody Lund, Octavio Hinojosa, Paulette Hernández, Renata Vaca, Joshua Okamoto, Steven Brand, and Michael Beach Director: Kevin Greutert NICK Although I’m a fan of the Saw franchise’s earlier films (especially the debut), the focus turned away from story and towards the torture porn aspect, which wasn’t for me. Saw X tries to remedy this with a deeper focus on John Kramer, the man, which finally gives Tobin Bell a chance to flesh out the character. You still have all the trademarks of the series - gore, twists, and traps - but without the failure to remember that these films need more than that. I'm not saying it necessarily justifies a continuation of the series, but it at least shows there are signs of life. PHILL It’s hard to care about a franchise that has ended twice. The Saw saga very obviously regretted killing off John Kramer (Tobin Bell) in SAW III because, in the subsequent seven films, the writers have consistently found increasingly contrived ways to bring the character back, with Saw X lazily going for the midquel approach. There is not much new here in the tenth entry, though. It’s a Saw film; its only innovation is that it has more plot than its nine predecessors. However, it’s not very interesting, and it’s hard to sympathise with a serial killer.

THE SUICIDE SQUAD Starring: Margot Robbie, Idris Elba, John Cena, Viola Davis, Daniela Melchior, Joel Kinnaman, Michael Rooker, Nathan Fillion, Jai Courtney, Pete Davidson, Sylvester Stallone, Mayling Ng, Flula Borg, Sean Gunn, Steve Agee, Jennifer Holland, Tinashe Kajese Director: James Gunn QUENTIN If Guardians of the Galaxy is a fresh-faced college freshman, plucky and full of hope, then The Suicide Squad is the grizzled college senior, jaded and fresh out of fucks. Writer-director James Gunn has made the best DC movie since The Dark Knight by weaving humor, irreverence, violence, and heart together in a story that is refreshingly unpredictable. The cast chemistry is spot on too, especially between Peacemaker (John Cena) & Bloodsport (Idris Elba). Gunn even makes his Troma pedigree readily apparent. Although Harley Quinn (Margot Robbie) felt a little forced, I genuinely could not have asked for more. AMARÚ We may never see the "Ayer Cut," but writer-director James Gunn has given us what we originally wanted in 2016 with The Suicide Squad . It's silly, blood-soaked nonsense wrapped around a heartfelt, action adventure team-up that is easily in the DCEU’s Top 3. Every member (new and returning) has miles more depth than the original squad, while the plot, humor, and gore never have to try too hard. I mean, he's got us loving rats, sharks, weasel-werewolves and all sorts of shit. Gunn knows how to let a property breathe for itself, and this breath was a blast. NICK With James Gunn directing this iteration of The Suicide Squad , there were expectations that it would be similar to Guardians of the Galaxy . Actually, it finds closer parallels to Deadpool 2 in both its violence and humour. The cast is fantastic from top to bottom. Idris Elba and John Cena will grab most headlines, but Daniela Melchior was the standout for me. There's no doubt it's a clear upgrade over its predecessor, but its lacklustre antagonists and waste of Viola Davis' Amanda Waller, who was a bright spot in the first one, stopped it from being truly great. JACOB The Suicide Squad combines the best of James Gunn’s humor with the grimiest of his action sensibilities to make one of the most fun moviegoing experiences of 2021. Each set piece is uniquely spectacular, carrying the weight and brutality befitting the film's conceptual makeup. It is an absolute blast and wildly unpredictable. The writing is unexpectedly moving at times too, as Gunn imbues these characters with a surprising amount of depth, even amongst the many hilarious jokes (Ratcatcher 2 (Daniela Melchior) being a major standout). No hyperbole, but this is the best DC movie since Christopher Nolan's The Dark Knight .

EDGE OF EVERYTHING Starring: Sierra McCormick, Jason Butler Harner, Ryan Simpkins, Emily Robinson, Dominique Gayle, Nadezhda Amé, Sabina Friedman-Seitz, and Anthony Del Negro Director: Pablo Feldman and Sophia Sabella NICK The biggest triumph of Edge of Everything is how authentic it feels. Sure, it covers all the typical hallmarks of a coming-of-age film (family drama, relationships, teenage angst) but it does so in such a genuine way. Directors Pablo Feldman and Sophia Sabella aren’t afraid to let their protagonist, Sierra McCormick's Abby, be unlikeable as she spirals into a life that is one part negative influence and one part her own doing. This leaves Abby's mistakes front and center without any attempt to hide them, which you understand when you see how little consequence she thinks her actions have. It’s a nice touch. KATIE Edge of Everything is a hard-hitting yet tender coming-of-age drama that doesn’t shy away from the harsh realities of the young characters’ lives. The film explores the dark complexities of teenage girlhood, as well as the importance of authentic friendship. It, admittedly, left me in tears more than once. The protagonist Abby, played by the fantastic Sierra McCormick, is deeply relatable, and she perfectly portrays the sense of invincibility and eagerness to grow up, regardless of the consequences, experienced during this age. With compelling and impactful storytelling and authentic performances, Edge of Everything is a powerful film that leaves a lasting impression. PAIGE In spite of Edge of Everything ’s simplicity and lightness, it embraces the messiness of adolescence without providing prefabricated answers. While I do feel that the directing duo of Sophia Sabella and Pablo Feldman played it a little safe, this coming-of-age story does serve as a sobering reminder of how difficult it can be to find your place in the world. Despite the story lacking depth while having unlikeable characters, it captures a realness within. This is due to its strong performances, the themes of identity, and the highs and lows of growing up, which I think will resonate deeply with many.

ODDITY Starring: Carolyn Bracken, Gwilym Lee, Caroline Menton, Steve Wall, Jonathan French, and Tadhg Murphy Director: Damian McCarthy QUENTIN Oddity is an excellent example of how a horror movie can rely on eerie atmosphere and a slow-burn approach without sacrificing narrative (take notes, The Witch and Starve Acre ). This is a movie that captivates from the outset, mixing the tense moodiness of “elevated horror” with the genuine jump scare moments that so many Blumhouse movies try and fail to manufacture. Plus, although the story isn’t entirely unpredictable, the general mystery of it all still draws you in through Damian McCarthy’s direction and Carolyn Bracken’s unnerving performance. All in all, if not for Longlegs , this might be the best horror movie of the year. NICK Some horror films need excessive gore and brutality, while others employ a plethora of jump scares. With Oddity , it's pure atmosphere. Everything works in service of the eerie tone director Damian McCarthy delivers, leaving you chilled to the bone as the story unravels. A story, I may add, that is quite good. There are shades of other films, but this is an original idea. Toss in a lesser known cast who wholeheartedly understands their assignments, and you have a film that is bound to appeal to horror lovers who have found this year's output lacking. PAIGE Oddity is an eerie experience. The story's atmosphere, mood, and unsettling imagery are what make it most effective despite the plot's periodic murkiness and simplicity. Even when I felt this paranormal murder mystery was losing steam, it snuck back up and shook me. Director Damien McCarthy has a great sense of how to execute a jump scare, and he cautiously creates tension with just darkness and silence. Though the ending is a little underwhelming, this original flick is one to definitely catch when it hits Shudder. This film was reviewed by Nick, Quentin, and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival.

ROAD HOUSE Starring: Jake Gyllenhaal, Daniela Melchior, Conor McGregor, Billy Magnussen, Jessica Williams, Kevin Carroll, Hannah Lanier, Joaquim de Almeida, Lukas Gage, Dominique Columbus, Arturo Castro, and JD Pardo Director: Doug Liman NICK I think I would have enjoyed Road House more if it went by any other name, because when compared to the original, it's a let down. That said, there's entertainment to be had thanks to director Doug Liman's testosterone-fueled video-game-style fight sequences and Jake Gyllenhaal's smart-ass take on Dalton. As for what Conor McGregor is doing? I'll go ahead and say it's an acquired taste. Look, the film knows it’s dumb, hard-hitting, B-movie popcorn fodder, but with none of its changes improving on the original, I can't give it a positive review. That, and it is sorely missing Sam Elliott's Wade Garrett. QUENTIN If you’re a fan of 1989’s Road House , I assume you aren’t coming into the remake looking for high art. Working on that assumption, this version is a lot of big dumb fun. It’s the type of movie where the sheriff is named Big Dick (Joaquim de Almeida), and top goon Knox (Conor McGregor, who is clearly having a blast) has multiple tattoos of his own name across his abdomen. Most importantly, though, the fight scenes are energetic and exciting in an 80s throwback way. If it were a theatrical release, I may have been harsher, but my only real complaint is the lack of throat-ripping. PAIGE The remake of Road House lacks many of the elements that made the original a dumb, fun, cult favorite, even if it does have some mindlessly entertaining moments here and there. Director Doug Liman's handling of the material is, to be honest, uninspired, and the movie is far too flawed to be considered a respectable remake. The fight sequences are unrealistic and ridiculous due to the terrible editing and wonky camera work, all of the characters are utterly underdeveloped, and the story's dreary script made me not care about or appreciate any of its absurdity. KATIE Admittedly, I have not seen 1989's Road House , so I wasn't sure what to expect with the remake, especially as a straight-to-streaming release. However, I had an undeniably great time, with my main criticism being that it is too long for a film with a barely discernable plot. Other than that, it's energetic, mindless fun, and it does exactly what it says on the tin, offering indulgent violence, fantastic fight choreography, and really impressive stunt work. Plus, Jake Gyllenhaal has plenty of charm, and Conor McGregor brings a surprisingly flamboyant energy to his role. CALEB Road House is a little rough around the edges, but it’s a hell of a good time. This movie just wants to have fun, and everyone involved seems to have gotten the memo. Jake Gyllenhaal oozes charisma while Conor McGregor delivers a delightfully over-the-top performance. The dialogue isn’t great, but when the performances are this entertaining, that becomes less of an issue. The fight scenes suffer from some weird visual effects decisions, but the creative choreography is energetic enough to make up for it. If you’re looking for an exciting action movie, and you don’t mind some cheese, then look no further than Road House .

GHOSTBUSTERS: FROZEN EMPIRE Starring: Mckenna Grace, Paul Rudd, Carrie Coon, Finn Wolfhard, Dan Aykroyd, Ernie Hudson, Bill Murray, Logan Kim, Celeste O’Connor, Kumail Nanjiani, James Acaster, Patton Oswalt, Annie Potts, Emily Alyn Lind, and William Atherton Director: Gil Kenan AMARÚ Frozen Empire is what I thought Afterlife was going to be: a just-ok, try-hard franchise revival that doesn’t recapture the magic yet isn’t a total disaster either. McKenna Grace continues to excel as the young Phoebe Spengler, with her arc carrying most of the film’s heart, but there’s a clear lack of direction. Multiple disparate storylines and tones never coalesce into a focused film. When it’s centered on Phoebe’s story, or when it chooses to lean into its horror elements, there is plenty to like; however, with so many unfulfilled moving parts, you end up with a diluted jumble of “hmm, I guess that’s alright.” NICK I was highly anticipating the Afterlife sequel until I realized Jason Reitman was no longer directing. This led to many reservations, most of which were realized as Frozen Empire is missing the magic of its predecessor. There are movies starring kids, and there are kid’s movies - this is definitely the latter, which leads to very hit-or-miss humour and a story that’s honestly a little hollow. There are good moments and some great (some, not all) effects, but again, it all feels like a children’s film. It’s far more Spy Kids than Ghostbusters , and that’s not what I came for. QUENTIN In my Afterlife review, I called it “neutered,” “vanilla,” and more Goosebumps than Ghostbusters . With Frozen Empire , director Gil Kenan seemingly read that review and said, “I’ll show you neutered and vanilla” because this thing is super bland and even more youth-skewing than its predecessor. Just so you’re clear, this is a coming-of-age movie about a young, maybe queer, teenage girl that just so happens to have some light ghostbusting in it; it's not for franchise fans. For reference: I watched it with a Ghostbusters -loving friend and his two kids (16-year-old boy and 11-year-old girl) – only the girl enjoyed it, calling it her ”new favorite movie!!” ADRIANO As a lifelong fan of Ghostbusters and lover of Afterlife , I despised Frozen Empire . Aside from a couple chuckles courtesy of Paul Rudd and the baby Stay Puft Marshmallow guys, the movie feels like it was made in a factory, resulting in a film that is way too artificial to elicit much entertainment value. It tries to juggle far too many plots at once too, and despite that, the first hour or so is mostly just set up. By the time the titular “frozen empire” comes into effect, I was too checked out. This is lifeless nostalgia-baiting at its worst. KATIE Frozen Empire is pretty much what I expected from a franchise whose existence is strictly perfunctory at this point. I like the child-friendly approach and coming-of-age themes, but there are far too many competing subplots that are underdeveloped and barely make sense. The film throws references, jokes, nostalgia, and the frequent-yet-pointless appearance of Bill Murray at the audience in a desperate attempt to entertain; however, it's convoluted to the extent of being boring. It's not particularly inspired, but it works fine as an average family-friendly film with a few laughs.

AQUAMAN AND THE LOST KINGDOM Starring: Jason Momoa, Patrick Wilson, Yahya Abdul-Mateen II, Randall Park, Nicole Kidman, Temuera Morrison, Amber Heard, and Dolph Lundgren Director: James Wan AMARÚ “You know what…” - Usually, when you see a review start with those words, the film isn’t that bad. That doesn’t apply to Aquaman and The Lost Kingdom . It’s not good. Sure, it could’ve been worse, but let’s not fool ourselves. It’s bad. The best thing I can say is that it’s watchable. The action doesn’t suck. James Wan’s direction doesn’t suck. Jason Momoa and Patrick Wilson’s dynamic doesn’t suck. Anything that isn’t the storytelling, dialogue, and plot (basically the actual movie) doesn’t suck. The DCEU ends how you’d expect, and all that’s left is hope that James Gunn’s nepotism can help DC out a bit. ADRIANO In a way, Aquaman and the Lost Kingdom is a fitting end to the DCEU, meaning it's a misguided and rushed disaster that feels like a failure at launch. The staggering lack of competence from just about every department here is wild. Other than a couple of fun moments, I struggle to find anything of value in this movie. Jason Momoa's fun, rock-on attitude is missing here, and the script is so bad that not even the talented cast can make the dialogue believable. A largely forgettable experience that closes the book on an embarrassing cinematic universe.

IF Starring: Cailey Fleming, Ryan Reynolds, John Krasinski, Fiona Shaw, Phoebe Waller-Bridge, Louis Gossett Jr., and Steve Carell Director: John Krasinski AMARÚ There has to be something said about the legend that is composer Michael Giacchino. It’s his outstanding score that allows IF to be so wondrous. I love me a great family film, and this one has magic that filled every part of my soul, and poured freely out of my tear ducts. With Giacchino’s Oscar-worthy score, John Krasinski’s whimsical direction, and imaginatively heartfelt performances (especially from its tremendous voice-cast), IF reminds us all of the importance of one’s inner-child, and leaves you feeling warm and cuddly, looking around for your long-forgotten imaginary friend. ADRIANO IF has a handful of unavoidable flaws, namely the script and its wonky structure, its predictable story beats, and foreseeable twists. That all said, writer/director John Krasinski's heart is so in the right place, it's hard not to fall for the film's pure and admittedly corny ambitions. Mix Michael Giacchino's magical score with some impressive cinematography from Janusz Kamiński, and Krasinski was able to pull off something sweet. A film that'll be a blast for kids and a heartfelt reminder to adults of the importance of retaining a childhood spirit. Not a great film, but one I couldn't help but enjoy. PRESTON If IF was intended for the littles, then it missed the mark, as it was more of a love letter to the littles inside each of us adults. The problem here may be one of expectations; for a film made by and starring John Krasinski, Steve Carell, and Ryan Reynolds, there is surprisingly little to laugh at in a very one-note story. Yet and still, it is impossible to include a cast like this without it being at least slightly above-average, which is where it can be safely categorized. Incidentally, with a script re-work this could’ve qualified as an incredibly terrifying horror film.

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

SOCIETY OF THE SNOW Starring: Enzo Vogrincic, Matías Recalt, Agustín Pardella, Felipe Otaño, Luciano Chattón, Valentino Alonso, Francisco Romero, Agustín Berruti, Andy Pruss, Simón Hempe, Juan Caruso, Esteban Bigliardi, Rocco Posca, Esteban Kukuriczka, Rafael Federman, Agustín Della Corte, and Tomás Wolf Director: J.A. Bayona ADRIANO Society of the Snow could've easily just coasted on the sheer undeniable power of the miraculous true story, but director/co-writer J.A. Bayona ventured beyond that to tell a powerful tale of human resilience. The story structure could've used some work, as many moments felt like they were going in circles, but the film is a technical marvel that puts us smack-dab in the freezing cold for a grueling two-and-a-half hours, filled with the lowest lows and the highest highs. Even for what I expected, the movie is an absolute triumph and a film worthy of its subject matter. KATIE Society of the Snow is a harrowing yet empathetic depiction of the 1972 Andes mountain plane crash and its Uruguayan passengers' fight for survival. The film explores the gut-wrenching ordeals of the crash’s aftermath with brutal and disturbing realism, focusing on the tender moments of compassion and hope shared by members of the group. Undoubtedly a tough watch, co-writer and director J.A. Bayona effectively encapsulates the abject horror of the situation whilst foregrounding deeply emotional themes of faith, morality, and friendship, all made possible by the remarkable performances and evocative score. QUENTIN The first and third acts of Society of the Snow are exquisite, highlighting the unimaginable choices one must make when fighting for survival in the face of near-certain death. It’s gritty and realistic, respecting the victims and survivors by not falling into exploitive sensationalism. That second act, though? Man… it’s sluggish. It’s often spinning its wheels, which maybe is the intent…to make you marinate in the awful situation for longer than is comfortable…but it results in a movie that is 30-45 minutes too long. Still, though, it’s a horrifically beautiful technical achievement that aptly touches on themes of morality, hope, friendship, and perseverance. AMARÚ Society of the Snow is absolutely horrifying and tremendously uplifting. That may seem oxymoronic, but it’s the most harrowing experiences that bring out man’s most resilient qualities. Director J.A. Bayona is no stranger to disaster movies, but with Snow , he focuses on the impossibility of hope and uses the story’s tragic event to bolster the staggeringly complex aspects of the characters’ humanity. With a mixture of scope, silence, a soulful score, and sinister sound design, Bayona, composer Michael Giacchino, and the terrific ensemble bring forth an extremely powerful end to the 2023 movie season. PRESTON Did you ever see Alive (1993)? Well, Society of the Snow is its more authentic, more complete, and much more accurate bigger brother. The camera shots are fantastic, the acting is top-tier, and director J.A. Bayona’s detailed re-creation does what few others in cinema could do, telling a complete story in under two-and-a-half hours. You will run the gamut of emotions through every perceived triumph and crushing setback, and wonder, “what the hell would I do?!” After seeing what these brave souls go through, I bet you don’t even complain about the subtitles. PAIGE Society of the Snow will provoke a stillness in its audience due to the grounded humanity of its characters. The relatively unknown actors give such exceptional performances that you feel like you’re right beside them in this unfathomable nightmare. While man vs. wild films can be tough to watch, this true story shouldn’t go unseen. Using close-ups to convey the rawness of these harrowing experiences, director J.A. Bayona does a fantastic job creating an emotional yet inspirational voyage of survival, supported by a powerful score from Michael Giacchino. CALEB When it comes to tales of human survival, it doesn’t get much more horrifying than Society of the Snow . Director J.A. Bayona’s new drama is an unflinching portrayal of human desperation, showing just how hellish a battle against the elements can become. The film kept me on the edge of my seat for the most part, but I’ll admit the third act began to lose me a little. It has a moving conclusion, but it really takes its time getting there. Still, the acting is impressive, the cinematography is stunning, and the haunting score is beautiful. Society of the Snow is a solid start to the year.