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DEAD MAIL Starring: Sterling Macer Jr., John Fleck, Tomas Boykin, and Susan Priver Directors: Joe DeBoer and Kyle McConaghy NICK Dead Mail is exactly what you should be looking for from an indie horror. It’s got a grainy shooting style that gives a grimy feel on top of an engaging story to work with. The reason it works as well as it does, however, is the traumatized performance from John Fleck. Although Trent (Fleck) begins with sympathetic motivations, he soon turns sinister, and his descent into madness is the highlight of the film. Sure, you could shave a little off the runtime (there's a bit of a drag in the middle), but Dead Mail feels destined to do well on Shudder. KATIE Dead Mail is an odd little film. Initially, I struggled with the oppressive, almost dingy atmosphere, but as the narrative progressed, I appreciated the impressive lo-fi visuals and distinct 1980s aesthetic. Directors Joe DeBoer and Kyle McConaghy present a bizarre world drained of colour and vibrancy, inhabited by lonely characters; however, despite this bleakness, it's still very compelling, thanks to the understated yet impactful central performances of John Fleck and Sterling Macer Jr. Overall, Dead Mail is a quietly gripping experience for anyone willing to embrace its strangeness. ADRIANO Warts and all, there was a sicko smile on my face for the majority of Dead Mail 's runtime. Its 80s aesthetic could've easily resorted to a gimmick, but writer/directors Joe DeBoer and Kyle McConaghy play within the confines of this idea to create something truly maddening. I'll admit, I think the pacing sometimes clashes with the mayhem, but the performances and score are enough to bring me back into the bizarre nature of the film as it takes one unpredictable turn after another, culminating in a bonkers final act. Suffice to say, I had a lot of fun here. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HIM Starring: Marlon Wayans, Tyriq Withers, Julia Fox, Tim Heidecker, and Jim Jefferies Director: Justin Tipping NICK I think if Him was content with just being a story about the lengths one will go for greatness, it could have worked better. Instead, it’s a film that feels compelled to touch on things like race and religion without the depth to handle either. It’s too bad, too, because Marlon Wayans is actually quite entertaining, and there are some solid visuals throughout the film. It just all feels so hollow. It’s undone by striving to be more than it is, which is often the downfall of many pro athletes. Unfortunately, that parallel was unintentional. ADRIANO Much like the protagonist in the film (played well by Tyriq Withers, admittedly), Him has sincere hidden greatness. Maybe this is my anticipation talking, but I saw the potential even in the worst moments of the empty style that only distracted from the empty messaging. Too much of Him baffles more than frightens, but even at the lowest points of extreme confusion and disappointment, I was optimistic that it would redeem itself. And then the third act came, eradicating any potential it had to come back around and truly proving that Him has nothing to say. AMARÚ Him has everything necessary for a harrowing tale about athlete commoditization and the dangerous sacrifices of obsession. Director Justin Tipping’s visuals are hauntingly captivating, and Marlon Wayans’ mad-eyed intensity is perfect as the wayward mentor to Tyriq Withers’ doe-eyed naivety. You can see greatness in individual scenes, but the screenplay lacks absolutely any amount of tension. Instead of the ebbs and flows of a full-fledged story with rising actions climaxing to an anxiety alleviating resolution, it’s an outline of spectacle put on film. Montages, music, and motivational phrases aren’t enough to capture audiences’ attention. They’re only enough to waste the potential of this film’s talent.

BAD BOYS: RIDE OR DIE Starring: Will Smith, Martin Lawrence, Jacob Scipio, Vanessa Hudgens, Alexander Ludwig, Paola Nuñez, Eric Dane, Ioan Gruffudd, Joe Pantoliano, and Rhea Seehorn Directors: Adil El Arbi and Bilall Fallah AMARÚ Bad Boys: Ride or Die really should’ve been called Bad Boys 4 Life because it’s everything I feared the previous entry was going to be. Whereas directors Adil & Bilall previously balanced Michael Bay’s grandeur with well-shot stunt choreography, surprising character development, and in-depth storytelling, Ride or Die is paper-thin predictable with chopped-to-hell, over-stylized action set pieces. Will Smith and Martin Lawrence are still a dynamic pair, so there’s fun to be had, especially one scene that will go down as a franchise best. Unfortunately, this entry executes that patented entertainment at twice the speed with half the payoff; that, sadly, doesn’t compare. QUENTIN Bad Boys: Ride or Die isn’t awful, but it’s like someone ran a Bad Boys script through a Mission: Impossible and Fast & Furious script polisher, then filmed it with overly stylized but oddly lifeless direction through half of a John Wick Instagram filter. It even out-Bays notoriously bombastic (and franchise-starting) director Michael Bay at parts. Will Smith and Martin Lawrence still have nice chemistry, and there are a few nostalgic callbacks, from cameos to certain camera angles, but….ehhh. Amusing, but never funny; actiony, but never exciting - this is about what I expected of the last one, so I was just one movie too early.

THE LAST VOYAGE OF THE DEMETER Starring: Corey Hawkins, Liam Cunningham, David Dastmalchian, Chris Walley, Jon Jon Briones, Stefan Kapicic, Aisling Franciosi, Woody Norman, Martin Furulund, Nikolai Nikolaeff, and Javier Botet Director: André Øvredal JACOB For a film set almost entirely on the water, it’s a disheartening thing to witness just how dry The Last Voyage of the Demeter actually is in nearly every respect. Apart from some neat creature prosthetics (which are seldom seen) and a so-so action sequence (which lasts all of one minute), the film is essentially two hours of waiting for something interesting to happen, only to cut to the next scene every time something does. The bones of a solid creature feature are there; there’s just no meat on them. Even the largely solid cast can’t overcome bad pacing. PRESTON With The Last Voyage of the Demeter , I felt like I was also on an excruciatingly long and uncomfortable voyage across the vast sea expanse of a cherry-picked Bram Stoker excerpt, whose primary merit is that it substitutes itself perfectly in this particular trope. The dialogue is strained while the storytelling flip-flops between the protagonist’s search for meaning and a confusing epistolary narration that only adds to the inconsistency felt from beginning to thankful end. The haphazard attempts at character development simply fail, and I found myself rooting for the “demon,” if only to get closer to the journey’s conclusion. QUENTIN While The Last Voyage of Demeter isn’t a must see, I’m not as down on it as my cohorts. Sure, it drags at times, which is to be expected when a single book chapter is stretched out to fill a 119-minute movie, but it does decently well in maintaining an atmosphere of dread and foreboding throughout. This is mostly thanks to director André Øvredal’s use of light and shadows to successfully build upon the notion that the scariest thing is the thing you can’t see. Don’t read into this as a comparison of quality, but it’s kinda like Alien on a Victorian-era merchant ship. ADRIANO The Last Voyage of the Demeter squanders so much potential that it’s borderline tragic. A horror movie about Dracula (Javier Botet) massacring folks on a boat? Sounds like a blast, right? Well, unfortunately, director André Øvredal made the idea just way too bland to enjoy. Its talented cast is mostly wasted, and the scares rely less on tension and more on Dracula jumping at the screen, hoping to God that counts as scary. And above all, I was just bored, which is the last thing I should have been for this movie. A fun idea that never once sets sail. CALEB As a fan of André Øvredal’s direction, I had high hopes for The Last Voyage of the Demeter . I love the idea of Dracula (Javier Botet) massacring sailors, but I can’t deny how bored I felt throughout most of its runtime. The one-note characters keep the film from having any stakes, which isn’t great when you’re dealing with a vampire. Dracula’s skeletal design was spooky, but poorly lit cinematography, quick cutting, and muddy effects really takes the wind out of his sails. I was hoping to give Demeter the benefit of the doubt, but I just couldn’t sink my teeth into this one.

STOCKHOLM BLOODBATH Starring: Sophie Cookson, Alba August, Emily Beecham, Claes Bang, Jakob Oftebro, Mikkel Boe Følsgaard, Ulrich Thomsen, Matias Varela, Thomas Chaanhing, and Wilf Scolding Director: Mikael Håfström PRESTON Director Mikael Håfström uses an aesthetic mash-up of Guy Ritchie and Quentin Tarantino in Stockholm Bloodbath , which is cool, and the historicity of the story is pure gold. I mean, the event is actually called The Stockholm Bloodbath. So, it's by what I can only imagine is a personal attack against me that Håfström bastardizes the hell out of this with a see-sawing dialogue of inappropriate levity and confusing seriousness. Its attempted stylized-mix of Braveheart and A Knight’s Tale results in a confusing and bipolar tone that leaves the viewer “absolutely wanting.” Extreme potential is the only thing that’s spilled upon the roads of Stockholm this time. QUENTIN Given its Guy Ritchie inspirations, brutal true-life story, and bloody Braveheart -esque battles, it’s wild just how flat and tame Stockholm Bloodbath is. Whether it’s the inconsistent tone or the competing stories filled with poorly developed characters, everything feels like it’s just going through the motions. It doesn’t help that the acting is fairly pedestrian (at best), with many of the performers coming across as Poor Man’s versions of better actors. That said, had either of the plotlines been given room to breathe, this may have made for a serviceable action epic. As constructed, though, it simply misses the mark.

TWINLESS Starring: Dylan O’Brien, James Sweeney, Lauren Graham, and Aisling Franciosi Director: James Sweeney AMARÚ Twinless features a moving dual performance from Dylan O’Brien and a breakout turn from director/co-lead James Sweeney. They’re stirring in their roles, which helps a story that wavers from slightly sluggish to extremely interesting. Before the totality of the plot clicks into place, the dour tone weighs heavily on the pacing, but once you see the lengths that Sweeney’s Dennis goes to fill voids in his life, you’re locked into how his desperation counterbalances O’Brien’s depression. While the rest of the film still ebbs and flows, the parallel unfolding of the leads’ respective traumas is relatable enough to keep this movie going. QUENTIN At its core, Twinless is a standard bromantic comedy. Sure, writer-director (and co-lead) James Sweeney adds his own nuanced flavor and brand of melodrama, but the tropes are all the same. That’s not to say it’s bad, as it easily coasts on the heartfelt chemistry between Sweeney and Dylan O’Brien, the latter of whom gives a tremendous dual performance as the confidently charismatic Rocky and emotionally vulnerable Roman. Still, window dressing aside, from Wedding Crashers to You’ve Got Mail , you’ve seen the basic bones of this story structure before, which keeps it from becoming something special even though it’s a pretty decent movie in its own right.

DRIVE-AWAY DOLLS Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Joey Slotnick, C.J. Wilson, Bill Camp, and Matt Damon Director: Ethan Coen NICK An 84-minute film should always move along at a brisk pace, and Drive-Away Dolls does that for the most part. However, some of director Ethan Coen’s decision-making halts that pace intermittently, messing with the flow of an otherwise entertaining comedy. If you can get past the psychedelic cut scenes, the pair of Margaret Qualley and Geraldine Viswanathan make for a solid “odd couple,” while Pedro Pascal and Matt Damon entertain in their brief screen time. It may not have reached the heights I was hoping it would, but Drive-Away Dolls still makes for an enjoyable watch. PAIGE Drive-Away Dolls is a zany and horny road trip flick that very much marches to the beat of its own drum. Though the freewheeling queer crime comedy is very much reminiscent of the Coen Brothers’ earlier works Raising Arizona and The Big Lebowski , be prepared for Ethan Coen’s solo offering to be a bumpy ride at times as the movie is a little bit uneven. Still, even if it's not one of the stronger Coen outings, the movie is kept moving by the chemistry and character dynamics between its two leads, Margaret Qualley and Geraldine Viswanathan. CALEB I’m really getting tired of these pulpy, crime-comedy B-movies. The zany, fast-talking heroes, the secret briefcases, the silly accents, the squabbling hitmen, the “witty” dialogue - it’s all so played out. Even at 84 minutes, Drive-Away Dolls drags. The character arcs are generic, the antagonists aren’t threatening, and the protagonists spend most of the movie completely unaware of the stakes. Try as they might, the flashy editing and garish VFX sequences aren’t enough to distract from the dull script. Outside of some decent cinematography and a fun performance from Geraldine Viswanathan, Drive-Away Dolls doesn’t have much to offer. ADRIANO After director Joel Coen's solo outing with modern masterpiece The Tragedy of Macbeth , it's now his brother Ethan's turn with Drive-Away Dolls . With this film, Coen seemingly wanted to make a fun, breezy B-film, and he ultimately succeeds…but perhaps it's a bit TOO breezy. Margaret Qualley and Geraldine Viswanathan's chemistry is endearing, but the crime elements, while funny, are rushed. At 84 minutes, it's the rare film that's too short, as most of it feels like a lucid acid trip, for better and for worse. Drive-Away Dolls can be a blast, but in the end, it’s not enough of one. QUENTIN You may recall that I named Drive-Away Dolls one of my most anticipated movies of 2024’s first half (read about it HERE! ), which makes it all the more disappointing that I didn’t care for it…like, at all. Long story, short: director Ethan Coen is lazily plagiarizing himself, pulling elements from The Big Lebowski , Fargo , The Man Who Wasn’t There , The Ladykillers , Burn After Reading , and more; wrapping them all up in a horny lesbian love story that borders on fetishistic. Add in a terrible accent from Margaret Qualley, insignificant cameos from major stars, the oddly lifeless story, and pacing issues…well, you’ve got a rare Coen miss.

QUIZ LADY Starring: Sandra Oh, Awkwafina, Will Ferrell, Holland Taylor, Jason Schwartzman, and Jon 'Dumbfoundead' Park Director: Jessica Yu KATIE Quiz Lady is an uneven yet entertaining comedy, rescued by the wholehearted performances of Sandra Oh and Awkwafina as estranged sisters who couldn’t be more different. Despite a bumpy script, the pair have an undeniable chemistry and seem to be having a lot of fun with their wacky roles. The film sharply pivots from slapstick and lowbrow comedy to tender moments of sisterly bonding, but I cannot deny that some scenes are laugh-out-loud funny. Plus, the opposing dynamic paired with the familiar chemistry between the sisters is hilarious. PAIGE Despite a somewhat conventional, ridiculous story and an uneven script, Quiz Lady is surprisingly effective in the laughs department. Both Sandra Oh and Awkwafina are outrageously hilarious playing against type, and their fantastic dynamic alone makes this cheesy but charming comedy worth watching. They compliment each other effortlessly, making this film such a fun, wild ride. With that said, the movie works better when it focuses on its sweeter, more intimate scenes between these two estranged sisters rather than its bombastic comedic scenes.

WILDCAT Starring: Maya Hawke, Laura Linney, Philip Ettinger, Rafael Casal, Cooper Hoffman, and Steve Zahn Director: Ethan Hawke NICK To make a good biopic, you need to leave the audience caring about the focal point of the film. Sadly, Wildcat did nothing to make me care about Flannery O’Connor (Maya Hawke). Although this is a subject both Hawkes (Ethan and Maya) are passionate about, that passion never translates to the screen. Instead, we have a film bogged down by religious undertones (and overtones) that ramble on in aggressive southern accents without saying anything particularly concise. The Hawkes are both clearly committed in their roles, but aside from a surprise cameo, they fail to turn that into an entertaining watch. ADRIANO I still don't believe that Wildcat is a movie and not a bizarre fever dream. The way the movie begins, I was into it; however, it collapses from there. Maya Hawke does some heavy lifting, but her father? Not so much. Co-writer/director Ethan Hawke's storytelling abilities reek of pretentiousness without giving reason to care about the subject. On top of that, there are countless baffling creative decisions that had me holding back laughter; not to mention, sadly, a horrible Laura Linney performance. For what it's worth, Wildcat is a very funny movie, but not intentionally. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

BRING THEM DOWN Starring: Christopher Abbott, Barry Keoghan, Colm Meaney, Nora-Jane Noone, Paul Ready, Aaron Heffernan, and Susan Lynch Director: Chris Andrews KATIE Bring Them Down is a tense tale of revenge and cyclical trauma with a pervading sense of intensifying rage bubbling quietly but ferociously beneath the surface. The story is simple but very powerful, thanks to the incredible performances that drive it, especially Christopher Abbott and Barry Keoghan. Director Christopher Andrews doesn’t waste time pinning the blame on a particular character instead exploring the way that each of the men perpetuates violence and refuses to take accountability. Bring Them Down is engaging but bleak, and although I was engrossed in the drama, I won’t return to it anytime soon. QUENTIN Despite solid performances from Christopher Abbott and Barry Keoghan, Bring Them Down is a slow-moving and unrelenting slog that was a struggle to sit through. If you can imagine The Banshees of Inisherin but bleaker, grimmer, grittier, and with absolutely zero humor, then you are picturing Bring Them Down . Overdone themes of patriarchal relationships, toxic masculinity, and the violence both can wreak are depressingly explored, and although a mid-movie perspective switch attempts to add something new to the discussion, it doesn’t do near enough to make this a movie worth suffering through, especially with the unsatisfyingly limp ending. PAIGE Bring Them Down is a moody and somber film featuring restrained yet impactful performances from Christopher Abbott and Barry Keoghan. With that said, this unsettling drama doesn’t have much going for it besides the aforementioned performances and the non-linear storyline that divides the tale into two perspectives, which allows the viewer to sit with both leads’ points of view. The sluggish and dreary narrative just left me not caring about the onscreen rivalry plot that turns somewhat tragic. AMARÚ I can’t pretend to understand the cultural and economical significance of the events that kick off Bring Them Down ’s central conflict, but I do understand respect. So when shit hits the fan, which it does fairly quickly, even though I was ignorant about the circumstances of such escalation, I had no question that the antecedent was disrespect. Chris Andrew’s intense direction, Christopher Abbott’s fierce performance, and Barry Keoghan’s perfectly honed dickheadery make for a fiery start filled with feuding, loathing, and downright disdain. However, it all tapers out to a dreary whimper, amounting to catching the aftermath of a deadly car wreck, just barely missing the action. This film was reviewed by Katie as part of Bitesize Breakdown's coverage of the 2024 BFI London Film Festival.

IRISH WISH Starring: Ed Speleers, Lindsay Lohan, Alexander Vlahos, Ayesha Curry, Jane Seymour, Elizabeth Tan, and Matty McCabe Director: Janeen Damian KATIE Irish Wish is the latest addition to a specific subgenre of romantic comedies that involve American women heading to Ireland to find love and experience a number of Irish stereotypes. That is not to say I didn’t enjoy Irish Wish to an extent, in a “so-bad-it's-good” kind of way, but it is not a particularly worthy film. Between the terrible script that is full of clichés, stiff acting, and lack of chemistry between the romantic leads, there are not many redeemable features. That said, Lindsay Lohan is quite charming, and I did enjoy seeing her back on the screen. CALEB Irish Wish is a generic, clichéd romantic comedy… but at least it knows it. The leading lady (Lindsay Lohan) is an underappreciated writer, and the story features a steamy love triangle, quirky misunderstandings, and a big dramatic wedding. It’s a by-the-books rom-com. If that’s your thing, then you might enjoy it; however, I was personally hoping for something a little less Hallmark-y. The writing is bad, the acting is mediocre, and despite being filmed in the gorgeous Irish countryside, the visuals are strikingly bland. Irish Wish is rather unimpressive, but if you’re in the mood for cheesy romance, then it could make for decent comfort food.

SELF DRIVER Starring: Nathanael Chadwick, Catt Filippov, Reece Presley and Lauren Welchner Director: Michael Pierro This film has been reviewed by Nick and Paige as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. PAIGE Despite its low budget, Self Driver stands out somewhat because most of the film is primarily shot in the interior of a car, making it an unexpectedly tense film that is reminiscent of Collateral ’s style and tone. The saying "desperate times call for desperate measures” fits rather well here as insanity breaks loose, leaving the film to paint a bare picture of being a modern-day taxi driver and all the dehumanizing that can come with that. Ultimately, I'm interested to see what writer/director Michael Pierro does next because Self Driver is a promising beginning. NICK The award for best film shot entirely in a car still goes to 2013's Locke , but director Michael Pierro should be proud of what he was able to do on a miniscule budget. This examination of what we’re willing to do at the end of our rope will hit close to home for anyone who has ever wondered how far they'd go to get out of their despair. Thematically, it works quite well. Beyond that, the film failed to grip me. I struggled to connect with the story (and I'm not far removed from the aforementioned hard times), but I hope others feel different.