UNSTOPPABLE Starring: Jharrel Jerome, Jennifer Lopez, Bobby Cannavale, Michael Peña, and Don Cheadle Director: William Goldenberg ADRIANO Unstoppable is the same sports biopic you've seen before. I do appreciate how the movie skipped any pity for the protagonist, and I'm once again really impressed with Jharrel Jerome's range. However, it's an obvious movie that begins and ends how you expect it to. That's not to say ineffective, but it's lazy. I don't understand why filmmakers feel the need to go down this path constantly when approaching these types of stories. Also, despite great turns from Jennifer Lopez and Bobby Cannavale, the domestic storyline is really bad. Audiences will fall for Unstoppable , I'm sure. I did not. AMARÚ Unstoppable is entirely dependent on its endless number of likable actors: Jharrel Jerome is a solid lead, Jennifer Lopez and Bobby Cannavale provide up and down dramatic heft, Mykelti Williamson and Michael Peña are always a joy to see on screen, and Don Cheadle is perfectly cast as the enwisened coach that believes in Jerome’s Anthony Robles. The main issue is that the film covers so much of Robles’ journey that two hours can’t deliver the needed depth. A really nice scene is often followed by a rushed one, and that back and forth makes for an entertaining, but unfulfilling, sports film. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE STRANGERS: CHAPTER 1 Starring: Madelaine Petsch and Gabriel Basso Director: Renny Harlin NICK When I heard The Strangers was getting a reboot trilogy, I was curious whether they were going to stretch the original story into three films or supply something wholly new. The answer is both. The Strangers: Chapter 1 is basically a remake of the original film without taking many liberties. Where the original succeeded on its gritty, indie vibes, this version is a glossy, CW-filtered take that fails to elevate the material. However, it sets up an interesting path forward that could lead the franchise into uncharted territory. So, although Chapter 1 disappoints, it did enough to bring me back for the follow-up. PAIGE The Strangers: Chapter 1 is a poor man’s attempt to reinvent the original 2008 film, being pretty much a copy-and-paste remake that brings nothing new to the table. Its lead characters, played by Madelaine Petsch and Froy Gutierrez, have zero chemistry, leaving its audience to not care whether they live or die. In addition, there isn't any suspense, dread, or atmosphere in the movie, simply just being filled with tons of cheap jump scares. Even so, I'll try to stay open-minded about Chapter 2 and 3 if only for the mere fact that I still like home invasion movies. KATIE The Strangers: Chapter 1 was more disappointing than I feared. The film is essentially a remake of the 2008 indie hit with a twist, but it doesn’t add anything interesting or worthwhile, leaving me questioning why its existence was necessary. There’s no bite or nastiness to the film, it's surprisingly tame, and it looks overly artificial, lacking the charming grittiness of the original. It doesn’t help that the protagonists have zero chemistry, and there is no sense of suspense, just predictable attempts at jump-scares. I’m not sure what to expect for the rest of the trilogy, but I’m not optimistic.

TRANSFORMERS ONE Starring: Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, and Jon Hamm Director: Josh Cooley ADRIANO Never in a million years did I expect a Transformers movie to discuss themes of totalitarian leadership and a blind following of propaganda, but here we are. Transformers One starts as a pretty basic animated movie that struggled to hold my interest. However, through some rushed character progression, the movie eventually picks up in the back half with insanely fun Autobot action and effective character writing. I do kinda wish the movie was longer so it could've fleshed out its ideas further, but overall, this movie went way too hard for me not to forgive its shortcomings. AMARÚ We’ve waited 17 years for post-The Movie Transformers films to finally give fans what they want: actual Transformers. Without humans, Transformers One ’s action and world building is reminiscent of Bumblebee ’s outstanding first 20 minutes, and while the family-friendly plot points are predictable, they don't make the film any less entertaining. What takes it from a good film to a really good one, though, is the progressively intriguing story propelled by compelling characters, especially with Keegan-Micheal Key’s comedic timing as B-127 and Brian Tyree Henry’s villainous evolution as D-16. With this and the incoming G.I. Joe crossover (yes, I want that), I’m finally in on Transformers’ roll out.

JUST BREATHE Starring: Kyle Gallner, Shawn Ashmore, Emyri Crutchfield, and William Forsythe Director: Paul Pompa III QUENTIN With all due respect to the perpetually underrated Kyle Gallner, who does the best he can with what he’s given here, Just Breathe is a mess thanks to a weak script, sloppy editing, and lazily rushed character development. Frankly, nothing in the story is earned, and Nick (Gallner) is hard to root for (again, not Gallner’s fault). In fact, almost every flaw falls at the feet of Paul Pompa, who, perhaps unsurprisingly, is making both his feature screenwriting and directing debut. I mean, there is a scene where Nick asks a question, but the response given is clearly to a different question, which is just… oof. KATIE Just Breathe is only redeemable because of Kyle Gallner’s talents, but it is still let down by the underdeveloped characters and script. It follows ex-convict Nick, played by Gallner, who tries to rebuild his relationship in the face of unbelievable (literally) circumstances, which could be entertaining, if not for how thinly written his love interest, Mel (Emyri Crutchfield), is. She is naive to the point that it's laughable, unaware of even the most obvious of red flags, which, along with her flat performance, makes it very hard to invest in her character. Alongside the muddled plot, Just Breathe is disappointing. ROBERT Unhinged performances are what I gravitate towards most, and at this stage of his career, Kyle Gallner is one of the best. Unfortunately, Just Breathe doesn’t deliver, blandly bouncing from here to there without ever relishing in what its star can do. There are some serious misses with casting, especially with Mel (Emyri Crutchfield), who has the story hinge on her obliviousness about her landlord Chester (Shawn Ashmore), but she is beyond myopic and toneless. I didn’t think I could be bored with the talent onscreen, but director Paul Pompa proved me wrong with this misfire.

FINESTKIND Starring: Ben Foster, Toby Wallace, Jenna Ortega, Tim Daly, Lolita Davidovich, Aaron Stanford, Clayne Crawford, and Tommy Lee Jones Director: Brian Helgeland NICK What did I just watch? Finestkind begins as a fairly straightforward story about brotherhood and fishing boats that seems to be building into an indie-feeling family drama, anchored by strong performances from Ben Foster and Toby Wallace. Then, about halfway through, it evolves into… some attempt at a crime thriller, with the tone making a complete 180. Perhaps the second half would have worked if it started that way, and I think there is a chance the first half would have worked had it stayed on track; however, put it together, and all you have is a mess. QUENTIN Though not quite the crime thriller it’s marketed as, Finestkind is a decent enough experience due to its workman-like presentation and solid performances, particularly from Ben Foster, Clayne Crawford, and Tommy Lee Jones (who, thankfully, does not attempt a Boston accent). Tonally, it’s a bit inconsistent, with the first and second halves feeling like they come from two different scripts, but as an A-to-B story, the beats mostly make sense and are organic. Overall, I didn’t love it, but I didn’t hate it either. Mostly, I’m just disappointed that Ben Foster was once again relegated to a straight-to-streaming movie that few people will see. PAIGE Finestkind is a tonal and narrative mess, and it seems to have no idea what it wants to be. The first half functions as a family drama following two brothers, played by Ben Foster and Toby Wallace, who were raised on two completely different walks of life, while the second half transitions into a crime thriller. Despite that sounding intriguing and being something that could have worked, director Brian Helgeland can’t rope these two plot ideas together to flow narratively well. Honestly, what keeps this film afloat are its performances. This film was reviewed by Nick as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival.

SMALL THINGS LIKE THESE Starring: Cillian Murphy, Eileen Walsh, Michelle Fairley, Clare Dunne, Helen Behan, and Emily Watson Director: Tim Mielants ADRIANO Have you ever watched a movie that you've mentally checked out on, but around the 40-minute mark (for a 90-minute movie), it finally starts to pique your interest? Well, that's Small Things Like These , an unfocused, poorly paced film that, while it does sport excellent performances from the entire ensemble, just kinda slags for the most part. I felt very little for anybody in this movie, partly because of how it decided to focus on the protagonist. When it did finally begin to get interesting, it was just too late. It's certainly not an awful movie, but I'll never see it again. KATIE Small Things Like These is a reverent, gracefully melancholic film that is deeply effective in exploring the shocking history of The Magdalene Laundries in Ireland, exposing the quiet complicity that perpetuated the Church’s abuse. Cillian Murphy’s performance as Bill is sombre and quietly gripping, and his character seems to physically buckle under the weight of the silent burden that he and countless other people in the community carry out of fear and shame. His expression and tormented eyes convey an immense sense of guilt and trauma, and I was completely swept up by the emotional intensity and tragic drama.

NIGHT ALWAYS COMES Starring: Vanessa Kirby, Zack Gottsagen, Jennifer Jason Leigh, Stephan James, Julia Fox, Randall Park, Eli Roth, and Michael Kelly Director: Benjamin Caron QUENTIN While Vanessa Kirby gives a standout performance, Night Always Comes disappointingly doesn’t invest enough in its story to match her efforts. First and foremost, it only superficially establishes the stakes. I understand that Lynette (Kirby) needs $25,000 by morning or she loses her house. But what does that mean? The movie never gives a reason to care outside of it being generally bad news. The story doesn’t develop many of the character relationships either, as Lynette’s night is a series of seedy vignettes, jumping from one B-level cameo to the next. It’s admittedly decently directed, but it’s still just a poor man’s Good Time . PAIGE Night Always Comes is an enthralling, bleak drama from start to finish that will have you stressfully rooting for Vanessa Kirby’s character to get out of a series of bad situations. For her part, Kirby continues to prove that she truly is one of the most underrated and versatile actresses working today. The rest of the supporting cast work to elevate the film too. That said, while the performances match the cool aesthetic, the overall film doesn't reach its full potential. I just wish it had bared its soul a bit more. ROBERT A movie premise that takes place in one day (or night) will always be popular because so many conflicts happening in such a short time is thrilling. Night Always Comes borrows from many previous films to progress Lynette (Vanessa Kirby) through her tumultuous evening in search of quick cash, relying on Kirby’s revelatory performance as someone always simmering with rage but trying to keep it under control for her family. Unfortunately, while the viewer isn’t given a chance to breathe, neither is the story around Kirby. There are seemingly no consequences for anything that happens, leaving a film that feels incomplete even though it is composed well. KATIE Unfortunately, Nothing about Night Always Comes is convincing. Vanessa Kirby gives a fine performance, but I didn’t get any sense of urgency from her actions or the circumstances that are forcing her hand. Characters come and go inconsequentially, and it feels like Kirby’s character just moves indifferently from one bleak event to the next. The film superficially engages with themes of financial insecurity and mental health, but doesn’t really have an emotional impact. It has some good-looking nighttime cinematography, but, overall, it lacks the tension and energy that are central to the success of any thriller.

MAGIC MIKE'S LAST DANCE Starring: Channing Tatum, Salma Hayek Pinault, Juliette Motamed, Ayub Khan-Din, and Jemelia George Director: Steven Soderbergh ADRIANO Magic Mike’s Last Dance ends the trilogy with a major dud. Steven Soderbergh does a good job in the director's seat, it has good performances from Channing Tatum and Salma Hayek Pinault despite their lack of chemistry, and there is some entertaining choreography in the final act. But this feels almost too polished when compared to the previous films' almost charming grittiness. It trades the emotional depth of the first film for an emotionally uninteresting and laboriously paced slog that lacks the excitement of the two previous films while also ripping off the plot of 2011’s The Muppets . This is, sadly, an anti-climatic finale. AMARÚ With Magic Mike’s Last Dance , Channing Tatum and director Steven Soderbergh continue to show their respect for all creative outlets (I’m talking about stripping, y’all, and indirectly, sex work). Series newcomer Salma Hayek Pinault is the perfect conduit to relay their beliefs in everyone’s freedom of expression, passion, and sexuality. This finale turned the series’ fantasies into a fairy tale, which is a fitting way to show the creators’ care for this franchise. If I had one true gripe, it’s that this send-off feels way too flat; however, like its predecessors, I left the theater satisfied with another enjoyable experience.

PIZZA MOVIE Starring: Gaten Matarazzo, Sean Giambrone, Peyton Elizabeth Lee, and Jack Martin Directors: Nick Kocher and Brian McElhaney PAIGE Pizza Movie is a wacky stoner comedy targeted at the Gen Z audience that is not funny in the slightest. Gaten Matarazzo tries his best to do what he can here, but the script is downright awful. It’s just one stupid joke after another. It feels like directors Nick Kocher and Brian McElhaney tried to replicate the tripping scenes from 21 Jump Street and stretch them into a feature-length film. It’s chaotic and cheesy, resulting in the film wearing itself thin fairly quickly. Honestly, the best character in this movie is a food delivery robot. ROBERT Whenever an actor or actress has a hit project, I believe their real career begins in the aftermath of said project. I can’t say that Pizza Movie was the surefire golden ticket for Gaten Matarazzo to follow up Stranger Things with, but I thought it was raucously funny and played to his strengths. Not every film, especially college comedies, must be inventive or break the mold, so I thought this was a suitable heir to things like Animal House or 22 Jump Street for this generation. The side characters, especially the bullies, stole their scenes, and you must stick around for the butterfly reveal. KATIE I think if Pizza Movie committed to a tone and aesthetic, it could have been funny and even entertaining. It has a great opening and some funny moments; however, the humour feels inconsistent, the jokes that don’t work fall unbearably flat, and there are many pointless, unfunny set pieces, including a completely unnecessary celebrity cameo. It’s not the cast’s fault, and to their credit, their performances got laughs out of me despite the weak dialogue. Sean Giambrone and Jack Martin in particular are hilarious, and they’re each the best thing about this disappointing film.

HARD TRUTHS Starring: Marianne Jean-Baptiste, Michele Austin, David Webber, Tuwaine Barrett, Ani Nelson, Sophia Brown, and Jonathan Livingstone Director: Mike Leigh ADRIANO I've been awaiting the next film from writer/director Mike Leigh, and while Hard Truths doesn't quite reach the heights of his best, it's still a great outing from the filmmaker. Marianne Jean-Baptiste is a force of nature here, especially in the first half, when she performs Leigh's ruthless dialogue with a natural ferocity that made me laugh a lot. The second half dives deep into the darkness that plagues the lead and her family with some unsettling realizations and heartbreaking facts. The ending will leave many unsatisfied with its ambiguity, myself included, but I was really into Hard Truths , overall. AMARÚ Life can truly be weird. Two people can experience the same circumstances, yet have two completely different outlooks on life. Director Mike Leigh’s Hard Truths is a tense look at the misery and joy people choose to carry with them. Marianne Jean-Baptiste is a force of fury that raised my stress levels to all-time highs, but her interactions with her life-affirming sister and two nieces (Michelle Austin, Sophia Brown, and Ani Nelson) poignantly make you ponder how you regard yourself and your relationships. Hard Truths is a bit overbearing without any true destination, but its performances provide genuine introspection and depth. PAIGE The truth about Hard Truths is that writer/director Mike Leigh gets the most out of his actors, particularly Marianne Jean-Baptiste, who excels in her portrayal of Pansy. She is able to masterfully express unfiltered sadness, frustration, and depression through the discourse. However, although this character-driven drama of generational anguish and rage is aided by the film's slice-of-life narrative approach rather than a structured premise, it doesn't have the necessary character layers for the audience to relate on a deeper level. KATIE Through the juxtaposition of two sisters’ lives, Mike Leigh’s Hard Truths presents a heartbreaking portrait of what clinical depression can look like as it seeps into every aspect of one's life, yet not without flashes of the director’s darkly comedic wit. Marianne Jean-Baptiste’s performance as Pansy is simply ferocious. She spits venom at those closest to her and seethes with unforgiving misery and an unabating sense of agitation, but also a heartbreaking awareness that she is struggling deeply and has been for a long time. The film doesn’t provide a satisfying resolution, but the stellar performances speak for themselves. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

OMAHA Starring: John Magaro, Molly Belle Wright, Wyatt Solis, and Talia Balsam Director: Cole Webley KATIE Omaha is a simple, understated, yet deeply affecting film, driven by the authentic-feeling relationship between a father and his two children. The film withholds the specificities of the family’s difficult situation, but throughout the road trip manages to quickly establish the relationship dynamics with scenes of naturalistic interactions that both reveal their heartbreaking reality and show the joy to be found in the quiet moments. John Magaro is fantastic as the father strained with stress and the weight of responsibility, and Molly Belle Wright gives a striking performance as his daughter, Ella. AMARÚ From the soulful music to the ambient car sounds and the fly-on-the-wall camera angles, everything about Omaha is heartbreaking. There’s a looming weight that John Magaro’s “Dad” holds in his face which makes the little beautiful moments on his family’s trip all the more heart-wrenching. The film isn’t complicated, primarily revealing the ultimate destination through the unknowing, but suspecting, perspective of his daughter Ella, played by standout Molly Belle Wright. With its simple, child-like viewpoint on such an impossible decision, Omaha stamps the humanity behind a breathtaking, precious, and sorrowful story.

PREY Starring: Amber Midthunder, Dakota Beavers, Stormee Kipp, Michelle Thrush, Julian Black Antelope, Bennett Taylor, and Dane DiLiegro Director: Dan Trachtenberg AMARÚ Well before the Predator arrives on screen, Prey is badass. Building on her standout performance in the TV show Legion , Amber Midthunder (Naru) blends vulnerability and intensity to introduce a character worthy of going toe-to-toe with the Predator. Her relationship with her tribe, especially her brother Naabe (Dakota Beavers), is a highlight that builds character and action, some of which are the best choreographed scenes in the entire franchise. Prey pays homage to the brutality of the franchise starter, but adds an emotional resonance that arguably elevates it to the top spot of the series. Plus, top tier movie dog. NICK I’ve never had an emotional connection to the Predator franchise, but damn if I don’t keep coming back even when it continues to underwhelm. Well, that trend has come to an end because Prey has not only rejuvenated the Predator name, but also provides numerous directions to take future projects. The claustrophobic storytelling that director Dan Trachtenberg used in the fantastic 10 Cloverfield Lane is on full display here, and it works wonderfully to create tension. But most importantly, the star of this show (as it should be) is the Predator itself. The gadgets, the precision, and the violence are all here. Well done. QUENTIN Fans, rejoice! It took 35 years, but with Prey , we finally have a worthy sequel to Predator . It’s a little slow to start, but once it gets going, it’s everything the other five Predator sequels aren’t. It’s tense, propulsive, full of action, and purposefully blood-soaked, not to mention delightfully lean and surprisingly well-acted. Plus, the Comanche-ness of it all provides a fresh entry point to what is, if we’re being honest, a fairly generic plot. Most of all, though, it just feels like a Predator movie, and I applaud director Dan Trachtenberg for not trying to make it anything more than that. Now do Alien. JACOB Despite some occasionally shoddy VFX and an awkwardly-placed title card, Prey is one of the best streaming films to come out in 2022, and it absolutely deserved a theatrical release. Director Dan Trachtenberg’s prequel to 1987’s Predator is full of heart, tension, and thrilling set-pieces worthy of not only carrying the franchise brand but evolving it. Amber Midthunder is an excellent action heroine (with a great movie dog), and the film’s score, cinematography, and sound design match that excellence. There are some elements that feel slightly unnecessary given their outcomes, but it’s not as if they don’t make sense considering the story’s setting. PAIGE Prey delivers a thrilling survival story led by Amber Midthunder that puts the Predator franchise back at the top of the food chain. It’s a bloody masterpiece! This is a Predator film done right, and is easily the best entry since the original. Even though we know all the story beats, director Dan Trachtenberg understands what made the 1987 classic so great, and he uses that to make this film feel fresh just by bringing it back to basics. Hands down, this movie should have gotten a theatrical release because it’s that good! ADRIANO This is how you do a Predator movie, Shane Black! Everything I love about Predator , it’s in there. Tense atmospheric horror, the Predator absolutely ripping people to shreds, and a hell of a fun time. It also helps that Amber Midthunder makes for a badass lead, and the concept itself is pretty interesting. Its lone flaw is that it’s on Hulu and not in theaters, which really isn’t a flaw in the grand scheme of things. Point is, Prey absolutely slaps. At last, we have a worthy entry in the franchise.