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SHARP CORNER Starring: Ben Foster, Cobie Smulders, and William Kosovic Director: Jason Buxton NICK Although it’s nice to see Ben Foster playing against type, Sharp Corner leaves much to be desired. You can tell it was originally a short story because its thin premise is stretched out to a near two-hour runtime filled with tons of build-up that culminates in a rushed and disappointing final ten minutes. Foster does well to keep you interested up to that point, but when all is said and done, I just felt deflated. The story either needed to be adapted into a short film or a really expanded and fleshed-out mini-series. As currently constituted, it misses the mark. BODE There’s a fascinating concept at the centre of director Jason Buxton’s second feature, Sharp Corner , particularly its attempt to examine the intersection between emasculation and control through a mix of psychological thriller and dark comedy (think Nightcrawler with the absurdity of a Tim Robinson sketch, with Ben Foster’s creepily polite performance intermittently feeling like it jumped out of the latter). Unfortunately, the film never really digs below the surface of its commentary, nor is it tense or humorous enough to consistently engage the viewer. It has the occasional moment of intrigue, but for the most part, it comes up frustratingly short. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

SORRY, BABY Starring: Eva Victor, Naomi Ackie, Lucas Hedges, John Carroll Lynch, Louis Cancelmi, and Kelly McCormack Director: Eva Victor ADRIANO It's surreal watching a film so confidently directed and perfectly paced, only to remember that it’s a feature directorial debut. Writer/Director Eva Victor had every opportunity to take conventional approaches in Sorry, Baby , perhaps even to emphasize the seemingly personal trauma presented and highlight its tragedy. Instead, she chooses a nuanced approach that's both hopeful and hilarious, with many moments to breathe in the protagonist's (played by Victor herself) arrested development, but the tone is so unique that it always feels like it's moving. The more I sit with this, the more I find reasons to love Sorry, Baby . BODE If you became familiar with Eva Victor through their viral tweets and comedy shorts, I’d have to imagine the quiet ambition of her directorial debut Sorry, Baby will be something of a shock. But the more you settle into it, the more you’ll realize that it’s a good shock. Victor depicts the before, during, and after of a traumatic event assuredly, effectively balancing gallows humour with tender perception, and with restrained camerawork that allows the lived-in performances and sweet intimacy to breathe. Certain aspects can feel exaggerated (for a film that’s mostly grounded), but still, it’s pretty solid.

WOMEN TALKING Starring: Rooney Mara, Claire Foy, Jessie Buckley, Ben Whishaw, Frances McDormand, Judith Ivey, Sheila McCarthy, Michelle McLeod, Emily Mitchell, Liv McNeil, Kate Hallett, August Winter, Kira Guloien, and Shayla Brown Director: Sarah Polley JACOB Sarah Polley’s Women Talking likely won’t blow anyone’s mind, but apart from a needlessly desaturated color palette, it’s one of the year’s best films. Adapted from the novel of the same name, the film’s script is its strongest element, but not its only strength. From Jessie Buckley’s steely resolve to Claire Foy’s righteous fury, every performer is in top-notch form, and the conversations they have hit particularly close to home if you grew up in a religious environment. It’s far more cinematic than one might expect, and the score by Hildur Guðnadóttir makes the composer two for two this year. DARRYL Women Talking is one of the year’s most powerful films. An excellent adaptation by Sarah Polley, as well as a masterclass in acting from virtually every member of the cast, this is just a top tier movie. Relying on the quality of the script and avoiding any needlessly complicated filmmaking, Polley’s simple visual approach ensures that all the focus is on the actors. A story about women choosing to break free from the bonds of an abusive patriarchal society, the underlying message that change needs to happen sooner rather than later is a brilliant beacon for any woman looking to improve their own life’s circumstances. NICK You can respect a film without overly liking it, and that’s about where I stand with Women Talking . The film, which plays out more like a Shakespearean play, feels incomplete, as if it were Act 1 of a larger story. Story wise, it leaves a lot to be desired. However, performance wise, there isn’t anything bad to say about this ensemble. Director Sarah Polley’s intentions are deliberate, and regardless of reception, she has reasoning behind every decision she makes, including the off-putting and drab colour palette. It may work for some, but it didn’t work for me. ADRIANO Women Talking is absolutely breathtaking, with writer/director Sarah Polley on her absolute A-game. As a director, she portrays the sheer vulnerability and terror of the plot seemingly effortlessly, but the script is incredible too, being tragic but also snappy and, weirdly enough, kind of funny at times. And the ensemble? Holy crap! Everybody is fantastic. That said, the film’s color palette is very bad. It seems nitpicky to criticize a movie's color grading, but it’s very distracting and just awful. Still, if the only flaw for a movie is the coloring, that’s a damn good sign. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

THE FIRE INSIDE Starring: Ryan Destiny and Brian Tyree Henry Director: Rachel Morrison NICK The Fire Inside is a typical sports biopic (albeit with above average cinematography) until it becomes so much more. It’s about the struggle female athletes have to manage alongside their male counterparts. It’s about self worth. It’s about another great supporting turn from Brian Tyree Henry (it’s about time someone lets this man lead his own film). That said, it’s newcomer Ryan Destiny who truly takes center stage, telling Claressa Shields’ story with authenticity and poise. It seems director Rachel Morrison’s career change was a good call (originally a cinematographer) because The Fire Inside surpassed all expectations. ADRIANO I didn't think I'd dig The Fire Inside , but I did. In her debut, Rachel Morrison shows she has a great directorial eye, as the film is excellently shot, especially the fantastic and kinetic boxing sequences. Ryan Destiny and Brian Tyree Henry are both incredible, too. In the first half, while some beats were familiar, it felt more realized than your average Coach Carter ripoff; then the back half made me remember that this was written by Barry Jenkins. Its position shifts to become an engaging and interesting film. The Fire Inside isn't groundbreaking, but I was pleasantly surprised. AMARÚ The Fire Inside reminded me that there is always space for inspirational sports movies. Rousing performances from Ryan Destiny and Brian Tyree Henry drive recognizable beats to a well-choreographed main event from director Rachel Morrison, but it’s what comes next that’s really special. We never actually see what happens after the final fight, and the financial and social realities outside the ring that are spotlighted give powerful insight on what’s really important - money isn’t everything, but money is recognition, and recognition is deserved for those who earn it. Destiny, Henry, and Morrison prove that point with nuance, honesty, and earned emotion. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

RUSTIN Starring: Colman Domingo, Chris Rock, Glynn Turman, Aml Ameen, CCH Pounder, Michael Potts, Jeffrey Wright, Audra McDonald, Da’Vine Joy Randolph, Gus Halper, and Bill Irwin Director: George C. Wolfe ADRIANO I guarantee you've seen the nuts and bolts of Rustin before, but something about this film works better than most average biopics. Maybe it's just how incredible Bayard Rustin's (Colman Domingo) story of being a forgotten yet important part of the Civil Rights Movement is… Or maybe it's Domingo's instantly charming performance that both devastates and empowers at the same time… Or maybe it's the frenetic energy the film offers in telling this story… or the quick and snappy dialogue that adds layers of surprising entertainment. Whatever it is, it made Rustin work. NICK Honestly, there’s nothing overly unique about Rustin , save for the performance of Colman Domingo. But Domingo is excellent as he brings a sense of optimism and humanity to Bayard Rustin, a man I admittedly didn’t know much about. Unlike prior civil rights films, this one doesn’t focus on the turmoil. Rustin was a pacifist, so it was only fitting to give him a film with such a positive gaze on the events. There are a couple cliché moments, and some of the casting is a little suspect (Chris Rock feels out of place), but Rustin succeeds in bringing eyes to the story of this influential man. AMARÚ Colman Domingo is a force to be reckoned with as the titular role in Rustin . Combine his zeal with an energetic score and a who’s who of legendary black character actors, and you have more than enough to overlook its instances of not-so-subtle messaging and poorly done ADR. But even more so, it was extremely refreshing to see the life, and loves, that make our exalted civil rights heroes (particularly one who is not so well known) flawed and human. Rustin is a film of pure heart and emotion funneled through its fresh story, invigorating ensemble, and absolutely Oscar-worthy lead performance. KATIE Rustin is a surprisingly conventional biopic, elevated by dedicated performances and the remarkable story of Bayard Rustin (Colman Domingo) and his overlooked yet integral contribution to the civil rights movement. Although it dutifully moves through the predictable beats of any other biopic, it’s saved by a powerful central performance from Domingo, who embodies his character in every aspect of his being. The energetic jazz score and rapid dialogue propel the narrative and make up for a script that relies on a lot of talking as exposition. Although the film is somewhat average, Domingo’s performance and Rustin’s story certainly are not. QUENTIN Despite a knockout performance from Colman Domingo and an important-but-little-known story about an important-but-little-known civil rights hero, Rustin is slightly too paint-by-numbers to truly resonate. Admittedly, his sexuality adds an interesting wrinkle, but overall, it’s pretty standard fare that hits all the typical story beats you've seen in similar movies, civil rights films and biopics alike. That doesn’t make it bad, per se, and I wouldn’t call it unnecessary because it’s a story deserving to be told, but aside from Domingo (and Jeffrey Wright), it's just a little underwhelming due to its familiarity. This film was reviewed by Adriano and Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

ALL OF US STRANGERS Starring: Andrew Scott, Paul Mescal, Jamie Bell, and Claire Foy Director: Andrew Haigh PAIGE All of Us Strangers is an incredibly personal film that is both heartbreaking and extremely powerful. It’s intimate, tender, and everything in between. This work of art touches on themes of loneliness and grief that will resonate with many, and I promise you it will give you all the feels thanks to the stellar and moving direction from director Andrew Haigh. Plus, Andrew Scott, Paul Mescal, Claire Foy, and Jamie Bell all deliver riveting performances. Once the end credits hit, this gem will have you rushing out of the theater to call your loved ones. ADRIANO All of Us Strangers has some real devastation, but sadly, a lot of it fell flat for me. Admittedly, writer/director Andrew Haigh does pull off the heartbreaking drama as it examines how we can sometimes fail to accept grief and how love can set us free, and this movie did make me shed some tears at times, thanks in part to the richly layered performance from Andrew Scott. However, some of the ways in which the film tries to explore its subjects collapse on themselves and the ending feels pointless. So, while this is worthwhile, I wish I got more out of it. AMARÚ All of Us Stranger s has the difficult position of having a ploddingly slow pace be essential to its emotional payoffs. I felt myself getting detached throughout the film whenever Adam’s (Andrew Scott) story paused for more contemplative scenes, but at the same time, that silence and Andrew Haigh’s intense direction made the film’s unique approach to trauma and memories much more powerful. Combine that with Scott, Paul Mescal, Jamie Bell, and Claire Foy all bringing tremendous gravitas to that emotional resonance, and Strangers makes for a moving, if at times sluggish, experience. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.

OH, CANADA Starring: Richard Gere, Jacob Elordi, Uma Thurman, Victoria Hill, Michael Imperioli, Penelope Mitchell, and Kristine Froseth Director: Paul Schrader QUENTIN Despite what other critics and Rotten Tomatoes might have you believe, director Paul Schrader hasn’t made a great movie in years. Sadly, Oh, Canada keeps that streak alive. The weird thing is that there are several things to like here, including a terrific performance from Richard Gere, poetic dialogue, and a great Americana-folk soundtrack, but all those things are squandered by lethargic and muddled storytelling that lacks passion. It wants so hard to be a melancholy treatise on life, death, and the regrets in between, yet it fails to make you care enough about the character to care at all about his remorse. NICK I keep giving modern Paul Schrader films a chance, but it seems his work just isn't for me. In fact, Oh, Canada may just be my least favourite yet. Although it's nice to see Richard Gere back on screen, and he's quite good in the film, Schrader has crafted something fairly boring, and every extra flourish he attempts in order to enhance things falls flat. Whether it's playing with timelines or colours (the black & white shots lack any vibrancy), I found myself waiting for the end, and even that wasn't very satisfying. I think Schrader may have run out of chances. ADRIANO Thank God, Oh, Canada is short because I struggled through this one. Richard Gere and Jacob Elordi are great, but writer/director Paul Schrader's meditation on life and taking into account one's regrets winds up being self-indulgent to the point where the film's thesis gets lost. Schrader’s approach is just too all over the place to even respect the ambition. Not every directorial and writing decision is awful, but the vast majority are a huge miss. On top of that, the ending is laughably bad. Granted, I haven't loved late-stage Schrader, but this is my least favourite from him. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

JOKER: FOLIE À DEUX Starring: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Harry Lawtey, Steve Coogan, and Zazie Beetz Director: Todd Phillips QUENTIN In Folie à Deux , Joaquin Phoenix seamlessly slides back into the character for which he won an Oscar, and Lady Gaga’s songbird talents are perfectly cast as the relative light to his darkness. That alone would make it worth your time. However, unlike Joker , this sequel actually has something to say, using a subtle meta touch to explore themes of celebrity, obsession, reality v. fantasy, and scandal as entertainment. It’s not flawless, admittedly, as the musical numbers contribute to disjointed pacing issues, but we’re still left with a sequel that, although not quite as good as its predecessor, is more ambitious, which makes it more worthy of respect. PAIGE Folie à Deux attempts to build a mountain, but is barely able to climb a hill due to its pacing issues. Don’t get me wrong, its cinematography is stunning, and the performances are solid - Joaquin Phoenix doesn’t miss a beat as Arthur Fleck, aka Joker, and Lady Gaga is a great addition as Harley (although her character needed to be more fleshed out) - but the film just never really finds its rhythm. The movie feels somewhat hollow as it lacks the depth and impact its predecessor left on its viewers. I do admire it for taking some bold swings, but sadly not all of them land here. AMARÚ Folie à Deux is a logical successor to the mean-spirited 2019 original, which is wild because making a musical follow-up to a crime drama is a big nonsensical swing. But swings hit if they make sense, and the conceit fit Arthur Fleck’s (Joaquin Phoenix) and Lee Quinzel’s (Lady Gaga) brand of crazy. Writer/director Todd Phillips carries over the dark and harrowing tone to continue this story’s flashlight on a descent into madness, not just for the clown couple, but for sensationalization everywhere. I won’t watch it again, as both films left me empty, but I knew that coming in, so for me it worked. ADRIANO Like its predecessor, Folie à Deux is a film that boasts excellent visuals and great central performances that stand in for a subtextually empty film. However, this one's plot lacks any cohesion and depth, and despite how loud he screams, co-writer/director Todd Phillips' attempted themes of fantasy and unearned folk heroes in relation to how the first film was perceived end up hollow. Plus, the musical incorporation is useless time fodder for the most part. It's a film that squashes what fans loved about the first one while doing nothing to disprove the detractors. So, who is this for? PRESTON If you’ve read my previous article (HERE ), then you know I’m a fan of musicals. Folie à Deux is no exception as a demented and, altogether, depressing entry. From the Greas e-like cartoonish intro, I was hooked. Joaquin Phoenix puts up an Oscar worthy performance that had me chuckling, at times, at his superbly nuanced facial expressions. My few detractors are: the way in which Lee Quinzel’s (Lady Gaga) arc falls, its sheer dispiriting nature, and how some of the later musical numbers arrest the once steady pacing. Overall, I applaud director Todd Phillips for this ambitious and appropriately unsatisfying sequel. KATIE Folie à Deux , regardless of its faults, is an impressively ambitious follow-up to the success of Joker . Although I’m not a fan of its predecessor, I love a jukebox musical, so I really appreciated the direction this film took, as well as the gorgeous visuals and lavish musical performances. The pacing is, however, impacted by all the musical numbers being too tonally similar without enough room to breathe. Joaquin Phoenix gives a committed performance, but Lady Gaga and her incredible voice steal the show, even whilst being underutilised and her character undeveloped. NICK I'm not here to tell you Joker: Folie À Deux works, it doesn't. It fails to expand on the Arthur Fleck character or justify its musical aspects. That said, some of the criticism has been a little extreme. This is no train wreck, it's a swing and a miss. Joaquin Phoenix is as committed as ever (though I would have liked to see more Joker) and I had no issues with Lady Gaga's performance. It's a little out there, sure, but it shows ambition. From the moment it was announced, this always felt like an unnecessary sequel and that's exactly what it turned out to be. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2024 Zurich Film Festival.

THANKSGIVING Starring: Nell Verlaque, Patrick Dempsey, Addison Rae, Jalen Thomas Brooks, Tomaso Sanelli, Milo Manheim, Gabriel Davenport, Jenna Warren, and Rick Hoffman Director: Eli Roth PAIGE While I was hoping Thanksgiving would have kept more with the grindhouse distortion style, I must admit this flick is still a bloody fun time. It’s stuffed with ridiculousness that will have you eating up its holiday-themed kills, and director Eli Roth seems to be having a blast crafting the creative mayhem. Even though this film is absurd and it doesn’t have the most compelling story, this B-horror movie knows it’s over-the-top, embracing every bit of it. If you're a sucker for cheesy slashers, this one's for you. Just don’t expect to care much about the one-dimensional characters. CALEB Director Eli Roth’s latest effort features everything you could possibly want from a great slasher flick. It’s got fun kills, an intimidating antagonist, and an engaging mystery. The whole Thanksgiving shtick is a lot of fun too. I love how they incorporate the holiday’s trademarks into the violence. The only real gripe I have with the film is its protagonist. Jessica (Nell Verlaque) isn’t necessarily a terrible character, but she’s pretty forgettable as far as final girls go. Outside of that, there’s barely anything to complain about. I went into Thanksgiving hoping for a good time, and that’s exactly what I got. ADRIANO I'm not a robot. I can even be a sicko sometimes, and Thanksgiving fulfilled my sicko needs. While lacking in substance, Eli Roth's latest slasher makes up for it with pure genre entertainment. The movie has kills for days; absolutely brutal ones too. Heads fall off, internal organs are exposed…it's a massacre, and I am here for it. I also love a horror flick like this one that is more dependent on the tense atmosphere than lazy jump scares. Its mystery can be interesting, though its reveal and explanation aren't very satisfying. Nonetheless, this film was a blast from start to finish. PRESTON I almost feel compelled to rate Thanksgiving slightly differently when compared to more “serious” films because director Eli Roth’s intention is perfectly met when one examines the final product. You know exactly what you’re going to get from a Thanksgiving-pilgrim-disguised-killer premise. In the end, you get a no-holds-barred slasher in all its gory glory that has surprising humor with some beautifully cheesy one-liners. For all you B-horror movie fans out there, this could be your chance to convert some of your more skeptical, highbrow friends. Go watch it together and have fun; you’ll be thankful you did!

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.

NOPE Starring: Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea, and Michael Wincott Director: Jordan Peele JACOB Nope may not boast the subtext of Get Out or the ambition of Us , but it’s every bit as worthy of the praise heaped upon it. Expertly shot by cinematographer Hoyte van Hoytema and featuring stellar sound design, filmmaker Jordan Peele’s latest is a genuine thrill ride meant to be seen on the largest theater screen possible. Keke Palmer and Daniel Kaluuya hold the gaze of every gorgeous frame even as scene-stealer Brandon Perea shares it, and the set-pieces are as tense as the best of Peele’s other works. This is the quintessential summer thriller of 2022. AMARÚ Filmmaker Jordan Peele has mastered the intense slow burn. His third directorial outing, Nope , takes every second of its 131-minute runtime to engulf your attention and immerse you into this world. That same care is taken with its endearing cast too. Peele capitalizes on each actors’ strength, fully utilizing Keke Palmer’s charm, Daniel Kaluuya’s stoicism, Michael Wincott’s intensity, and Brandon Perea’s earnestness, all of which aid in marrying you to this harmonious ensemble through a story that is best entered sight unseen. Jordan Peele’s mind is wild, and Nope officially places him amongst the ranks of best event-movie directors. QUENTIN From a technical perspective, Nope is probably filmmaker Jordan Peele’s best film yet. You can really see his growth as a filmmaker in the imagery, cinematography, and use of light and sound. From an entertainment standpoint, while Nope is still good, it’s also the weakest of his three offerings. It’s slow moving enough that the film feels longer than it actually is, and it feels so much like Signs that the originality Peele is known for takes a bit of a backseat. Again though, let me reiterate, it’s still good and worth your time; it’s just not as good as Us or Get Out . PAIGE Nope is out of this world, and big ol’ YUP in my book. It’s this generation's Close Encounters of the Third Kind , but with enough originality to make it one of the most stunning and eerie films in recent memory. Unfortunately, I was never fully invested in these characters, which kept me in the clouds throughout the film, but that doesn’t take away from the great direction of Jordan Peele, the amazing sound design, or the performances. You will look up into the sky differently after seeing this flick. ADRIANO Insert obligatory “more like ‘Yup’” joke here. But seriously, Nope truly is great. It’s not perfect in any sense of the word, as the characters are kinda one-note and don’t have much of an arc, but Nope is all about spectacle. Writer/director Jordan Peele definitely delivers on that front. Visually, it looks stunning, thanks in part to cinematographer Hoyte van Hoytema, and it’s one of those movies that I feel benefits from an IMAX screen. Plus, as is always the case with Peele, it’s a well-written and creepy puzzle box of a film with layers that may take multiple viewings to peel off.

THE BEEKEEPER Starring: Jason Statham, Emmy Raver-Lampman, Josh Hutcherson, Bobby Naderi, Minnie Driver, Phylicia Rashad, David Witts, and Jeremy Irons Director: David Ayer NICK If you're coming to The Beekeeper looking for innovation, intricate storytelling, and Shakespearean dialogue, then obviously you'll bee highly disappointed. In fact, expectations are going to bee the main thing working against Beekeeper as it probably shouldn't have been a theatrical release. Beekeeper is filled with by-the-numbers action, a plethora of bee references, and Jason Statham doing his best Terminator impression. Something like that could have caught on as a streaming release, but when you're asking people to pay money, it's just not up to snuff. Although it gets credit for beeing self aware, Beekeeper just doesn’t justify a theatrical release… and that stings. AMARÚ In the movie doldrums of January, The Beekeeper is exactly the cathartic revenge fantasy you want to watch: Jason Statham beating the shit out of assholes who need to die. It’s funny enough (intentional and otherwise) to add to the entertainment, and takes itself seriously enough to make you care. And that’s what these movies need - a semblance of care - in order to work. Then, all of the other ridiculousness falls right into its gleeful, violent place. Plus, the ensemble is excellent in picking just the right amount of schlock to elevate this to the best “Jason Statham” movie I’ve seen in years. ADRIANO If you've ever seen a Jason Statham movie, you've seen The Beekeeper . It’s 100 minutes of Statham making one face as he encounters no real danger, which makes all the action tensionless, aside from one fight scene towards the end that has some weight. Also, for an R-rated movie, the violence is mostly bloodless. Mix in the nonsensical plot and really bad supporting performances, the only thing worthwhile about this movie is the comical amount of bee puns. I'm sure some will have more fun with this than I did, but I did not enjoy it at all. CALEB As far as John Wick clones go, The Beekeeper could have been a lot worse. The world-building, character work, and dialogue are all pretty mediocre, but the action is just fun enough to keep the ship afloat. Sure, there’s a few too many jump-cuts, but the choreography is stellar and, as always, Jason Statham gives a great physical performance. It kept me entertained throughout the first half, but it somewhat lost me once it started taking itself too seriously. It won’t change your life, but if you’re looking for a competently made action flick, then The Beekeeper might just be up your alley. PRESTON There are really only three things wrong/unrealistic with David Ayer’s The Beekeeper : first is the terrible blue hat that doesn’t quite look right on Jason Statham’s head; second is the ability to turn off a fire alarm for an entire house with the push of a single button; and finally, the irresponsible wasting of farmer’s market quality honey that hurts one’s soul. Everything else was super realistic *smirk* and, given its intentions, top-notch. Statham’s teep kick continues to be on-point, and Bobby Naderi and Josh Hutcherson put up nice performances in this fun, John Wick -esque B-action film. KATIE If you’re not prepared to enjoy hilariously bad dialogue, non-stop action, Jason Statham doing his best stoic Jason Statham performance, and an abundance of terrible bee puns, this is not the film for you. However, if you’re looking for a paint-by-numbers action flick with plenty of violence, vigilante justice, and a barely legible premise, The Beekeeper is really quite fun! Statham is undeniably engaging, and whilst some of the combat sequences become a little monotonous and the performances are unconvincing, it's a good bit of mindless entertainment. QUENTIN The Beekeeper features Jason Statham Stathaming as hard as he has ever Stathamed, and for me, that’s all I need from movie like this. It’s a delightfully retro action movie that doesn’t make a ton of sense — the kind that would have starred Arnold Schwarzenegger or Sly Stallone in the early 90s — but you aren’t coming to The Beekeeper for mental stimulation and substance. You come to watch a badass mow through faceless goons as he dispenses vigilante justice and spouts one-liners. Is it good? Not technically. Is it enjoyable? You better BEE-lieve it.