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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.

SINNERS Starring: Michael B. Jordan, Hailee Steinfeld, Jack O’Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, Li Jun Li, Miles Caton, and Delroy Lindo Director: Ryan Coogler AMARÚ I’ve never felt chills during a movie, but thanks to director Ryan Coogler, it happened twice in one sitting. For some, Sinners may be a slow build to what they came to see, but to me, it's extraordinary filmmaking and acting. This is amongst Michael B. Jordan’s greatest roles, exuding charm and gravity while being surrounded by an absolutely substantial ensemble, including its most essential character, music. Every bit of soul, freedom, drama, humor, and intensity is felt through song perfectly matching Coogler’s stunning visuals, making for one of this decade's most entertaining films. 4.5 reels for the film, and that extra 0.5 for the chills. QUENTIN I really wanted to like Sinners , but unfortunately, the marketing department did it dirty by revealing way too much in the trailers, which only adds to the pacing issues, lack of scares, undercooked plotlines, and a Michael B. Jordan who doesn’t have the range to pull off dual roles (or a southern accent). On top of that, for a movie being hailed for its originality, it’s not far from From Dusk Till Dawn meets O Brother, Where Art Thou? with some added racial commentary. That said, it’s not a total misfire; it’s handsomely made and surprisingly funny. But it’s probably my least favorite Ryan Coogler movie. PAIGE Sinners is Ryan Coogler’s most daring and audacious film to date, as he expertly weaves the horrors of history and passion together through Jim Crow-era vampires. This film is just bursting with cinematic brilliance. The entire cast is outstanding, but Michael B. Jordan stands out for his effortlessly cool dual performance, which not only anchors the story, but adds complexity and flair. Newcomer Miles Caton makes a noteworthy debut with his powerful voice, too, while the bluesy score by Ludwig Göransson elevates the movie to a new level, creating an arthouse blockbuster. All things considered, Sinners is 2025’s spiritual awakening. ADRIANO Ryan Coogler proves once again that he's one of our best genre auteurs. After his previous IP successes, it's amazing seeing him take on more original territory with Sinners , and it’s a hell of an adrenaline rush. While the first 40 minutes take their time to establish the characters and setting, the rest of the film's swagger, suspense, gore, and visual wonder make for a masterwork that has interesting themes underneath all the flourish: temptation may be fun, but it ain't living. The last thing I expected was for this vampire flick to be oddly life-affirming, and for that, I'm floored. ROBERT When I think about Sinners , I think about a host of other films I revere, as it makes its fresh and impactful homages without feeling rote or derivative. This is a movie about power and ubiquity, and that is exactly how I would describe it as an experience: powerful and ubiquitous. Its musicality, its set pieces, and a complete euphony of on-camera and behind-camera endeavors come together to deliver something meaningful. The best genre stories reflect society subtextually while being entertaining with what it puts in front of you, and Coogler sets a complete feast out for audiences to devour. BODE When director Ryan Coogler stepped into the world of franchise filmmaking, starting with Creed and later the Black Panther movies, he balanced rich subtext with the conventions of their respective series (Rocky and the MCU) with ease, infusing both with fresh blood. With Sinners , Coogler does so again with a concept entirely his own, and it succeeds as both a portrait of Black creativity and liberation in the Jim Crow era and a pulpy, fun vampire flick, accentuated by great performances (including a breakout turn from Miles Caton), great music, and stunning cinematography. It’s not perfect, but it’s thrilling, nonetheless. NICK Don't get me wrong, I really liked Sinners . I just didn't love it. Some of the negatives were out of the film's control (trailers spoiling too much, hype reaching unattainable levels, and missing out on the theatrical experience), but even with those caveats, I can’t see this as an all-timer. Maybe the use of music, as that is Sinners’ undisputed highlight, but not overall. It's visually impressive, with a first half that’s paced and built better than its second, and features strong showings from the ensemble cast, but no career-best performances. This is a very good film but it doesn’t scream best of year. Want to hear even more of our thoughts? Amarú, Adriano, Paige, and guest Amanda Guarragi join Matt to take A Bigger Bite out of Sinners HERE .

SICK Starring: Gideon Adlon, Bethlehem Milton, and Dylan Sprayberry Director: John Hyams QUENTIN As slashers go, Sick works well enough to satisfy the genre itch. It doesn’t do anything groundbreaking – I mean, what slashers do, anymore? – but it serves its purpose. Given that it shares the same writer as Scream , the similarities between the two practically smack you in the face. It manages to lightly subvert a few expectations, but not to the degree of the 1996 classic. The COVID aspect is a bit too obvious and already feels a little dated, but it’s fine, whatever. Either way, if you’re in the market for an old-fashioned slasher that doesn’t require much effort, Sick has you covered. NICK I hope we’re coming to the end of COVID films, but Sick at least tries to incorporate it into the story in a unique way. In fact, it’s the only thing that really makes the film stand out. Beyond that, it’s your average home invasion horror, featuring some fun kills and story beats that are homages to several films that came before it. The cast is serviceable if unspectacular, and the script, as written by Scream scribe Kevin Williamson, does what it needs to do. It’s a solid shut-your-brain-off-and-have-fun film, and there is nothing wrong with that. PAIGE Sick is sharp like a butcher’s knife, and with only an 80-minute runtime, it’s a fast-paced thriller that delivers in the kills department. Writer Kevin Williamson is sick in all the right ways for crafting up another cat-and-mouse slasher (this time with a deadly pandemic twist) that is perfect for all you sickos out there craving a good, old-fashioned killfest. Admittedly, the third act kinda takes an interesting approach, one that doesn’t have enough gravitas to stick the landing, but it does have some of the most exhilarating chase sequences I’ve seen in a while. This film was reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

A COMPLETE UNKNOWN Starring: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Boyd Holdbrook, and Scoot McNairy Director: James Mangold AMARÚ A Complete Unknown is a solid enough movie filmed by a damn good director in James Mangold, who captures the essence of 1960s New York and the fighting spirit of the decade’s folk movement. Through his vision, the cast effortlessly fills their gigantic subjects’ shoes, especially Timothée Chalamet who absolutely disappears into the role of Bob Dylan. Even more impressive is that, considering there’s probably more performances than dialogue, Chalamet sings each song himself. His acting and singing talent, Edward Norton’s great supporting performance, and Dylan’s wonderfully descriptive lyrics allow this concert movie to tell an entertaining story, if not a wholly in-depth one. ADRIANO If you want an introspective look at Bob Dylan that gives the artist an enigmatic aura while still feeling the weight of his influence, watch I'm Not There . Otherwise, you’ve got A Complete Unknown , a movie with a hypnotic performance from Timothée Chalamet as Dylan, but also a bland story filled with both compelling concert sequences and undefined character motivations. I understand the concept of shrouding Dylan in mystery, but this film's storytelling feels distant, insisting on his importance to music history without having a faint idea as to why. It could've been worse, but I'll never see this again. NICK A Complete Unknown is a terrific example of great performance not being the same as a great film. In fact, I'd argue there are two great performances, Timothée Chalamet (Bob Dylan) and Monica Barbaro (Joan Baez). It's the film they're featured in that leaves much to be desired. Aside from some excellent musical performances, the story of Dylan is distant and cold with many of the supporting characters' motivations untold. Perhaps this mirrors the man, but when your protagonist comes off as more of a jerk than a rebel, it doesn't make for a lead you can get behind. PRESTON I have to admit that I didn’t know very much about Bob Dylan (Timothée Chalamet) and, although I like his music, I don’t know that I could have picked out any of his songs prior to this film. Timothée Chalamet hasn’t impressed me much in the past, but he turns in what I consider to be one of the best lead performances of the year. Even coming in at over two hours, director James Mangold’s A Complete Unknown is a breezy and satisfying watch for all of us who can appreciate the trailblazing, artistic contrarians who can inspire us all. PAIGE Because of its shallow screenplay, A Complete Unknown is more of a compilation of Bob Dylan's greatest hits than a comprehensive biopic of the musician, but that, I think, is part of its appeal. This is a voyage of an artist who goes against the grain and does what he wants, when he wants, so don't expect to gain more insight about this contrarian, or you'll be a little let down. Timothée Chalamet perfectly channels a mysterious Dylan, and is bolstered by similarly captivating performances from Monica Barbaro, Elle Fanning, and Edward Norton. QUENTIN As a person who isn’t a massive Bob Dylan fan and someone who doesn’t get Timothée Chalamet's appeal, I was unsure what to expect with A Complete Unknown , even though I'm usually forgiving with musical biopics. Surprisingly, I was given a rushed, poorly developed, and borderline trash story that works only because of Chalamet's magnificent turn as Dylan and the folk icon's song list (convincingly performed by Chalamet). Those two elements, as well as great supporting turns from Edward Norton and Boyd Holbrook, are enough to keep you entertained even as you realize you aren’t learning a damn thing about the counter-culture hero.

LOVE LIES BLEEDING Starring: Kristen Stewart, Katy O'Brian, Dave Franco, Ed Harris, Anna Baryshnikov, and Jena Malone Director: Rose Glass CALEB Love Lies Bleeding starts off relatively tame, but before I knew it, I was on the edge of my seat. Director Rose Glass successfully creates a tense, oppressive atmosphere, complete with grungy sets, an overwhelming soundscape, and some seriously sickening visuals. The romance at the heart of the film could’ve been more fleshed out, but thankfully the chemistry between Kristen Stewart and Katy O’Brian is strong enough to compensate for most of the script’s shortcomings. Love Lies Bleeding won’t be for everyone, but its unsettling fusion of romance, crime, and body horror made for an experience I won’t be forgetting any time soon. PAIGE Lesbi-honest, Love Lies Bleeding is A24’s She-Hulk , just with more blood and violence. This gritty and erotic tale of love and revenge doesn’t hold much back. While it does take some bizarre swings in the third act, director Rose Glass does an amazing job creating an exciting neo-noir that is driven by the passion-fueled performances by Kristen Stewart, Katy O'Brian, and especially Anna Baryshnikov. Overall, the movie has a bold plot and amazing cinematography, making it utterly electric. However, I have to say that it seems to be more focused on style than substance. NICK Much like last year's Finestkind , Love Lies Bleeding is another grounded film that is undone by its choice to morph into a crime thriller. Early on, there is a throwback griminess paired with a banger of a soundtrack that really sets the tone for the type of film director Rose Glass seemingly wants to make. Then, in an instant, all of that is abandoned. The quality in everything, from individual performances to the aforementioned soundtrack, diminishes, and the film I was enjoying gets a little too ridiculous for its own good. The tonal change may work for some, but it ruined the picture for me. AMARÚ Love Lies Bleeding is an intense and unforgiving story that shows the lengths some will go for love and lust…and the blurred lines between them. But mostly, it’s a showcase for budding stars Katy O’Brian and director Rose Glass. O’Brian’s fierceness shines amongst veteran stalwarts Ed Harris and Kristen Stewart, and she’s the vehicle in which Glass shows off a unique penchant for mixing drama, crime, and horror elements. The only genre-mixing that doesn’t work is some of the fantasy aspects that stand out alongside a few plot contrivances; however, I admire Glass’ choice to let her voice swing big. ADRIANO Love Lies Bleeding is a lot. I can't pretend it all flows gracefully, especially towards its wonky third act, but at its peak, this film cements Rose Glass as one of our more interesting directors. Bleeding offers a genre-bending ride that is fun, romantic, tense, and squirm-inducing, all at once. The crime aspects don't always work, at least not as much as the film's love story, but it gives us a fantastic performance from Katy O'Brian. Overall, the central story on the dangers of obsession is enough to forgive the shortcomings and just have a blast while watching. QUENTIN Love Lies Bleeding is a perfect example of a movie not equaling the sum of its parts. There truly is a lot to love, from the 80s griminess to Katy O’Brian’s star-making performance to Ed Harris’ amazing skullet. Rose Glass directs the hell out of this thing too, creating a movie that is visceral and immersive. So, why was I generally unimpressed by the movie as a whole? The slow burn is a little too slow, the story is filled with an abundance of contrivances and conveniences, and the fantastical ending is just silly. I didn’t hate it, but it could have been so much better.

DEN OF THIEVES 2: PANTERA Starring: Gerard Butler, O'Shea Jackson Jr., Evin Ahmad, Salvatore Esposito, and Nazmiye Oral Director: Christian Gudegast NICK Den of Thieves surprised me back in 2018, as it presented a solid action film with interesting characters and an intriguing twist. The follow-up, Pantera , moves away from the action genre for a slow and methodical heist film that just doesn't work as well. Most of Gerard Butler's charm and edge as “Big Nick” remains, but the Donnie (O'Shea Jackson Jr.) who was set up in the finale of Den of Thieves , is nowhere to be found. Also absent is the action that made the original so exciting. It’s all a little boring, and production delays aside, there’s no excuse for that. ADRIANO Den of Thieves 2: Pantera feels like a neutered version of the first one. Don't get me wrong, it’s predecessor isn't anything special either; however, for all its flaws, I still found it to be well-made, with a fun and gritty tone. While this one is still well-made, the grit is exchanged for some goofy, and far less intense, buddy movie dynamics. Gerard Butler and O'Shea Jackson Jr. don't really work that well together, and while the heist itself was entertaining, the film is simply too unengaging and overlong for this sequel to feel necessary. AMARÚ Den of Thieves 2: Pantera has the blueprint of a 90-minute, January-released, Gerard Butler film: simple and action-packed with entertaining character dynamics. Butler and O’Shea Jackson Jr. provide plenty of charisma, but there’s an extra hour full of cat-and-mouse plot threads that are sometimes fun, sometimes silly, and always bloated. Without much action, you feel every bit of slog in the nearly 150-minute runtime, but the heist is exciting when it finally arrives. So, while this go ‘round is way too long, if next time we were to get a tight, 90ish-minute entry with Big Nick (Butler) and Donnie (Jackson), I’d be game.

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.

SATURDAY NIGHT Starring: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Woods, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J.K. Simmons Director: Jason Reitman ADRIANO Plain and simple, I loved Saturday Night . I do think it wraps up a little too quickly, but director/co-writer Jason Reitman ups his game big time here with a surprisingly effective ticking-clock narrative, unique cinematography choices, a pulse-pounding score, and stress-inducing editing. On top of that, the movie's really funny, as well. With an ensemble that's completely committed, Saturday features laugh-a-minute dialogue that feels perfect with the figures that are represented. Lastly, at a crisp 109 minutes, the movie gets to do everything it wants to do, and it balances all the characters wonderfully. This movie simply rocks. NICK All credit to director Jason Reitman for even attempting to bring the mayhem of SNL ‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness. AMARÚ Writer/director Jason Reitman starts Saturday Night with a chaotically energetic one-shot that probably only captures an ounce of the actual nervous spirit of pre-show SNL , which has to be why some of the variety show’s issues get solved slightly too easily by film’s end. However, that doesn’t take away from the utter entertainment Reitman and the amazing ensemble provide. Chaos propels the film forward, but it’s the moments of calm between storms that allow today’s up-and-coming actors playing against pitch-perfect veterans to embody legendary comedians without becoming imitations. Saturday Night is a blast from front to back, and I didn’t want the show to end. PAIGE Jason Reitman’s Saturday Night is a chaotic mess in the best way possible. The film effectively captures what the 90 minutes leading up to the first episode of Saturday Night Live were presumably like with its frantic pacing, long tracking shots, and witty screenplay. Plus, the ensemble is hilarious, and all involved seem to be having a blast embodying their respective roles. Though the film does fall short in its character development by not giving everyone their moment to shine, all in all, it’s an entertaining movie from start to finish that most will enjoy, even if they aren’t SNL fans. PRESTON I don’t think you had to have been a huge fan of Saturday Night Live from the jump to enjoy Jason Reitman’s Saturday Night , but the nostalgia of it all definitely adds to an already fantastic experience. Its intentionally ataxic composition can be disorienting, at times, which is (of course) the point. But, if you are not well aware of who the famous persons being portrayed actually are, then that can detract from the experience, as you are transported frantically from scene-to-scene and character-to-character. The whole cast’s performances are spot on and the comedic tone of the time is expertly reincarnated. Overall, a great time. QUENTIN For a person who grew up watching SNL in the 90s (not to mention the cinematic classics of the original cast), Saturday Night was right up my alley as a sort of nostalgic time-capsule from an era I never personally experienced. Director Jason Reitman excellently captures the frenetic atmosphere that I can only imagine permeates the backstage area prior to SNL hitting the air, let alone the very first episode, while the cast admirably fills the shoes of the comedy icons (none more so than Dylan O’Brien as Dan Aykroyd and J.K. Simmons as Milton Berle). This movie doesn’t deserve to be forgotten. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE ADAM PROJECT Starring: Ryan Reynolds, Walker Scobell, Jennifer Garner, Mark Ruffalo, Zoe Saldana, and Catherine Keener Director: Shawn Levy NICK Following the success of Free Guy , director Shawn Levy and star Ryan Reynolds bring us another success with The Adam Project . It’s not quite as comedic as their previous effort though, as this one delves more into a surprisingly emotional family story. Still, newcomer Walker Scobell has some great comedic moments amongst an A-list cast who do a lot of the heavy lifting for him. However, the film isn’t flawless. Catherine Keener feels miscast and it has notes of family film cheesiness, but it still makes for a fun Netflix blockbuster. We’re two films into the Levy/Reynolds partnership and so far, so good. PAIGE The new dynamic duo of director Shawn Levy and actor Ryan Reynolds are back with The Adam Project , their brand new sci-fi adventure film. This flick harkens back to the cheesy-but-fun Amblin films of the 80s, mixing the emotional elements you would expect with Ryan Reynolds' razor sharp sarcasm. Furthermore, Walker Scobell was perfectly cast as a younger version of Reynolds’ character. This is just one of those movies that will make you want to call your family right after seeing it and tell them you love them! AMARÚ The Adam Project is simply awesome; not because the action is thrilling, or because the stacked cast is all in with each role, or because the effects are surprisingly refreshing for today’s go-to sci-fi trope (time travel/multiverses). While all of those things are true, it’s because Walker Scobell (Young Adam) brings the heart of the entire film together. His chemistry with Ryan Reynolds (Big Adam) brings new life to the Ryan Reynolds-ness of it all (that makes sense, right?). The Adam Project is just a good ass time, and the sweetness of the relationships are what make it a good ass time. JOSEPH I’m not exactly sure what I expected from The Adam Project . I guess something along the lines of an Amblin-style, coming-of-age adventure flick. While it does have some of that, it lacks a sense of wonder. I expected a little more use of sci-fi elements and technology, but it just wasn’t present enough for my taste. For better or worse, Ryan Reynolds brings his trademark charm, while Walker Scobell is annoyingly perfect at emulating it. Still, The Adam Project boasts some spectacular and heartfelt scenes that make it fun and worthwhile.

SHE SAID Starring: Zoe Kazan, Carey Mulligan, Samantha Morton, Tom Pelphrey, Jennifer Ehle, Andre Braugher, Patricia Clarkson, Ashley Judd, Elle Graham, Adam Shapiro, and Anastasia Barzee Director: Maria Schrader JACOB The greatest strengths of She Said are those most baked into the story, namely the actual investigative elements of the infamous Harvey Weinstein case and the journalistic sequences as the article is being put together at the New York Times offices. It also boasts some stellar performances, solid writing, and a subtly great score. However, it’s not without faults, one of those being a fairly wonky editing structure that makes the first few minutes feel jumbled. The larger conflicts are there, but absent is the focus on the protagonists’ personal conflicts that made Spotlight – this film’ closest counterpart – so convicting. QUENTIN I’m a sucker for journalism movies, and while She Said isn’t one of the better ones I’ve seen, it’s good enough to satisfy cravings for a genre that doesn’t have near enough offerings. The film features mostly decent performances (Zoe Kazan struggles) and some of the worst editing I have ever seen, but what matters is the story. Though a little dry, it manages to honor Harvey Weinstein’s victims and the difficulty of their situations with a quiet respect (the lone exception is the Ashley Judd of it all, which comes off as self-aggrandizing). Overall, it’s a worthy watch, even if it doesn’t make waves. ADRIANO She Said is a movie that can simply coast on its powerful and incredible true story, which is why I find it very admirable just how matter-of-fact this film is. There is no overdramatizing, and while at times that can feel a little dry in its approach, it allowed the story to speak for itself. Carey Mulligan and Zoe Kazan are both great, and although I wish we learned more about them, I think they were written with the respect they’re owed. This was a truly effective movie that did both the subjects and victims justice. This film was reviewed by Jacob as part of Bitesize Breakdown's coverage of the 2022 New York Film Festival.

TRAP Starring: Josh Hartnett, Ariel Donoghue, Saleka Night Shyamalan, Hayley Mills, and Alison Pill Director: M. Night Shyamalan ADRIANO I allowed myself to get sucked into Trap ... mostly. For the first 40 minutes, I was gripping my seat and feeling all the nerves I was witnessing on screen in this cat-and-mouse game, not to mention my favourite performance from Josh Hartnett. I was truly having such a blast that I was fine giving M. Night Shyamalan's typical shortcomings (awkward dialogue, annoying plot threads) a pass. However, as the film kept going, I was less forgiving. It's not awful, but it wears itself thin in the back half as it refuses to end, leaving me to have less fun. QUENTIN M. Night Shyamalan might be the most inconsistent writer-director in Hollywood, and while Trap isn’t as bad as some of his other offerings, it’s still very meh. Despite a premise that has extreme tension inherently baked in, the first hour is pretty lethargic. It’s a cat-and-mouse game with no real cat, meaning it never feels like Cooper (Josh Hartnett giving a not great performance) is at risk. It’s completely lacking suspense until the halfway mark, but even then, that suspense only lasts for about 30 minutes before ultimately fizzling out as the movie just keeps going with ending after ending. I really expected more from this. AMARÚ Director M. Night Shyamalan is playing in the cheesiest of sandboxes with Trap , and I ate up almost every second of it. Led by an all-knowingly chewy Josh Hartnett performance, the dramatic close-ups, melodramatic dialogue, and mysterious conveniences made for an outstanding experience if not a wholly believable completed product. My heart and mind were racing as each plausible and improbable happening unfolded, and though the ending doesn’t clear up every questionable plot point, the journey was well worth what we got. Also, gotta tip my hat for M. Night simultaneously making this a showcase for his daughter Saleka’s music career. Exquisite nepotism. PAIGE Up until its third act, Trap is an amusing and cunning game of cat-and-mouse, and while it might be the most fun I have had watching an M. Night Shyamalan film, it’s surprisingly straightforward, clearly lacking M. Night’s trademark twist. The movie has an intriguing premise, crispy soundtrack, and a great performance by Josh Hartnett as a convincing psychopath, but the storyline and dialogue were, at times, cringy and stilted. Overall, in terms of M. Night's filmography, this one is positioned in the middle of the pack. NICK Going into Trap , there were a lot of positive signs: director M. Night Shyamalan is on a good streak, Josh Hartnett is having a career resurgence, and the concept's potential was clear. Unfortunately, that concept is wasted in a poorly executed film. Tonally, this thing is a mess. It features moments of both intentional and unintentional campiness, yet only the latter provided my audience with laughter. While Hartnett is good, the dialogue he and the rest of the cast have to work with is among M. Night’s worst. I’m sad to say the streak is over because Trap is a complete misfire. SHADAN Bless Josh Hartnett, because his presence is a big reason, maybe the only reason, Trap works as well as it does. I laughed a lot. Was I supposed to? I’m not entirely sure. Despite a trailer that gives away more than I was expecting, there are a good number of surprises left in store. Yes, there are better thrillers out there — better M. Night Shyamalan offerings, even — but I can’t deny watching Hartnett balance the doting dad and maniacal killer personas proved to be a very entertaining time at the movies.

THE GREEN KNIGHT Starring: Dev Patel, Alicia Vikander, Joel Edgerton, Ralph Ineson, Sean Harris, Kate Dickie, Barry Keoghan, Erin Kellyman Director: David Lowery JACOB A bit overlong, though never without justification, David Lowery's The Green Knight is a stunner of the highest caliber. An epic that is always centered on the personal, there's nothing in fantasy quite like it. Lowery's camera moves with patience and precision, capturing both the intimate and the enormous, while the story is anchored by a perfect leading performance from the increasingly impressive Dev Patel and phenomenal voice work from Ralph Ineson. The cinematography is magnificent, but refuses to overshadow the film's most impressive feat - sincere faithfulness to unconventional source material bolstered by fantastic production design and makeup technique. QUENTIN Although a tad long and a bit slow at parts, The Green Knight boasts such beautifully dreamlike visuals and arresting cinematography that it’s easy to get swept up in this unconventional take on the Arthurian legend. On top of that, Dev Patel is superb, grounding the more fantastical elements with his quiet humanity. Fair or not, it’s the first time I’ve seen a Patel performance and didn’t think “oh, it’s the kid from Slumdog Millionaire .” The film isn’t a 100% faithful adaptation, which may annoy purists, but it’s still one of my favorite movies of the year.