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MISSING Starring: Storm Reid, Nia Long, Joaquim de Almeida, Ken Leung, Amy Landecker, Daniel Henney, Megan Suri, Tim Griffin Directors: Nicholas D. Johnson and Will Merrick AMARÚ Missing ran the risk of being a lesser version of its predecessor, Searching , but its thrilling script and captivating leads quickly proved it to be an entertainingly distinctive sequel. The mystery as a whole is somewhat predictable, but only in hindsight, as the twists keep you focused on unraveling it alongside the characters in the present moment. Storm Reid carries the emotional weight of the film, but it’s her chemistry with standout Joaquim de Almeida that make both the heart and tension unique. If subsequent smart-device films are as gripping as Missing , I’ll be in the theater every single time. DARRYL Missing may be the film that kicks off 2023 in earnest. It’s a taut thriller that is well acted but even more impressively directed by Nicholas D. Johnson and Will Merrick, and the inventiveness that went into telling the story is a testament to their creativity. It’s a well-crafted story from a tight script that manages to weave in a number of surprises that don't feel cliché, demanding the audience pay attention to every detail. If you're itching to catch a movie in theaters but are hesitant due to the abysmal track record of January releases, this is one you won’t want to miss. JACOB Missing may not be as clean-cut or succinct as Searching , but it remains a worthy successor nonetheless. Missing persons films fit exceedingly well into these formats, and the trick has worked once more, this time thanks to an assured performance from Storm Reid. That said, there are issues with the film, namely that the underlying themes don't really get developed enough to feel like a genuine statement, but luckily, they’re overshadowed by an intriguing plot and a twist I honestly didn't see coming. If a third film also succeeds, we may have ourselves a solid "screen-cap trilogy."

JOY RIDE Starring: Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu, and Ronny Chieng Director: Adele Lim NICK The trailers for Joy Ride showed me that I was in store for a comedy along the lines of Bridesmaids , The Hangover , and Girls Trip , so I was expecting laughs (which came often). What I wasn't expecting was the level of heart in this story. Its focus on culture, family, and what it means to belong elevates the material, as do the performances of the central cast. The group dynamic is great, but it's the individual relationships they have within that really shine. Comedy has had a rough go of things recently, so it’s a pleasure to see a film like this put it all together. JACOB A raunchy ride, through and through, with a sincere beating heart, Joy Ride is an absolute goddamn delight and easily one of the funniest movies of the year to date. It doesn’t always navigate the conversation of personal identity in terms of immigration, international adoption, or racism in the most nuanced terms, but apart from that, there’s very little to dislike here. The starring foursome have terrific chemistry, with Sabrina Wu’s Deadeye being a scene-stealing standout, and some of its more emotional moments really pack a punch. It plays out more or less how one would expect, but the journey is 100% worth it. ADRIANO Joy Ride is, pun intended, one hell of a ride. It made me laugh like most comedies aren’t able to these days, which is to say consistently. Part of what makes it so funny, beyond the sharp and raunchy writing, of course, is the unrelenting commitment from Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu. All four of them had me rolling for the longest time, until the film slows down and takes a turn to tug at the heartstrings as its themes of friendship and cultural identity come to fruition. Suffice to say, I loved this movie. AMARÚ Joy Ride is a breath of fresh air that uniquely carves its own lane amongst the slew of 21st century R-rated comedies. Director Adele Lim not only roots the story in Asian culture, but also in the reality that women are as raunchy as their male counterparts. Focusing on themes of identity and belonging while simultaneously delivering intelligently dirty humor lets the main foursome (Ashley Park, Sherry Cola, Stephanie Hsu, Sabrina Wu) play in a hilarious and heartfelt sandbox. They leave you laughing, crying, and hoping for more uproarious shenanigans with them in the future. QUENTIN While I can see why some will find Joy Ride hilariously raunchy, I spent my 20s enjoying arguably the heyday of the R-rated comedy. So, everything here feels done before: the athlete cameo and oddball tagalong (The Hangover ), the traveling plotline (Eurotrip , Road Trip ), the mismatched friends who blame each other for their problems (Superbad ), the women’s camaraderie (Bridesmaids , Girls Trip ), a “WAP” rap sequence (SNL Digital Shorts), and so on. The only fresh aspect is the Asian dynamic, but it mostly just allows for lazy racial jokes (white people like Friends ?! No way!). Maybe I’m just desensitized and have seen too many comedies, but meh… PAIGE Joy Ride is a brash, raunchy, and hilarious movie that very much has its own identity. While the film is definitely full of shock value moments and jokes that can be hit or miss, the majority of them land like a slap in the face, so you’ll be laughing your ass off the entire runtime. But where the film shines the most isn’t from its jokes, but from its heart, which comes from the beaming ensemble cast. Ashley Park, Sherry Cola, Stephanie Hsu, and Sabrina Wu’s chemistry is exceptional, and I’d totally be down for a sequel with Brownie Tuesday.

WONKA Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Natasha Rothwell, Tom Davis, Olivia Colman, and Hugh Grant Director: Paul King ADRIANO I can't help but to like a movie that puts a smile on my face throughout. Wonka is not without its wasted characters and narrative squabbles, but director Paul King fills the film with so much heart and (pun fully intended) eye-candy for any viewer to enjoy, even if the original's darker undertones are mostly abandoned. And despite my initial reservations, Timothée Chalamet is funny and endearing, as is his young co-star, Calah Lane. The movie's intentions feel sincere enough to make the joyfulness feel real, and I was pleasantly surprised by this return to a world of pure imagination. CALEB Honestly, it took me a good 20 minutes to get past the fact that Timothée Chalamet was singing, but once I did, Wonka really won me over. There’s just so much to love about this movie. Chalamet is much better than I thought he might be, the songs are catchy, and the script is genuinely moving. While the film might be a little too sweet for some people, there’s no denying that director Paul King poured his heart into this project, and more children’s films deserve to be crafted with this level of passion and care. Wonka is a delightful surprise. PAIGE While Wonka is a whimsical and charming treat, the musical aspect of the film falls flat. It’s a full-blown musical that lacks powerful vocals from our lead, Timothée Chalamet, and has no memorable songs to go along with its journey of Willy Wonka trying to accomplish his dream of opening a chocolate factory. Plus, the film also plays it a little too safe, needing to be a wee bit more unhinged to satisfy my need for this prequel to Roald Dahl’s beloved character. All in all, this flick is a perfectly fine family-friendly film. PRESTON Wonka is director Paul King’s reimagined look at the life of Willy Wonka (Timothée Chalamet). The fantastical visuals are on full display with a competent cast, but despite its polished finish, I left the theater feeling unsatisfied. The overly saccharine nature of this somewhat forced musical had me feeling slightly queasy, and without any of the mystery or darkness of its predecessors, there was little incentive to emotionally invest in any of the characters, which caused many of Wonka’s antics to fall flat. The result is a decent, but excessively safe children’s story that leaves little for us older kids. KATIE Willy Wonka & the Chocolate Factory is one of my favourite films, and Gene Wilder's incarnation of the character is very close to my heart. So, I went into Wonka believing that I wouldn't be impressed; however, it won me over almost immediately. The musical set pieces are spectacular, the songs are catchy, Timothée Chalamet is charming and frankly adorable as Wonka, and the tone is perfect throughout. I also am pleased that it employs nostalgia effectively, yet sparingly. It's unapologetically wacky and extravagant, and whilst it may border on sickly sweet for some, it's everything I’d expect from a Wonka musical.

BRUISER Starring: Jalyn Hall, Trevante Rhodes, Shamier Anderson, and Shinelle Azoroh Director: Miles Warren JOSEPH My expectations for Bruiser were low considering how little buzz it has received, but this sleeper hit is fantastic. Rarely do coming-of-age films force us to reflect on the actions of our parents in the way that Bruiser does. While the side characters are relegated to being plot devices, the four main characters are incredibly well developed. Jalyn Hall, in particular, gives a powerful and nuanced performance as Darious, effectively communicating the character’s internal struggles. It’s a different kind of coming-of-age story with real characters and engaging visuals. JACOB A better-than-good debut feature for director Miles Warren, Bruiser carefully treads on themes of possessive fatherhood and adolescent aimlessness without resorting to overwrought dramatics…until it resorts to slightly overwrought dramatics. While everything leading up to the finale is well realized and the performances are as good as they can be (especially from Shamier Anderson and Jalyn Hall), the film’s finale ultimately undoes just enough of that goodwill to make this indie blend in amongst its peers rather than stand out. That said, it is nice to see Trevante Rhodes getting more work, and those first two acts are great. QUENTIN Bruiser , a film I wanted to see but missed at Toronto International Film Festival, is a small, beautiful film that packs a thoughtful punch. It uses a somewhat fresh coming-of-age story to raise compelling questions about masculinity, fatherhood, nature v. nurture, inner demons, past mistakes, and the idea of whether people can change. While I’m sure some people can relate to the story far more than I can, I still found some easy parallels to my own life. A loose mix between Moonlight and Mud , the film also is another showcase for Trevante Rhodes, who seems poised to take the next step in his career.

VENOM: THE LAST DANCE Starring: Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Stephen Graham, Peggy Lu, Clark Backo, Alanna Ubach, and Andy Serkis Director: Kelly Marcel AMARÚ The Last Dance might be the best of the Venom trilogy, as easy as that is, but it’s still a predictably stupid, exposition-filled, macguffin-heavy, surface-level movie. Yet, even with all that…and I can’t believe I’m saying this…I kinda enjoyed it. The new cast members cared about their stereotypical roles (especially an always invested Chiwetel Ejiofor), there’s only one irredeemably dumb scene whereas the remaining silliness has some heart, and the action is surprisingly intense. Enough so, that even with its weirdly flat ending, I found the fun Tom Hardy seems to really have in making these films. ADRIANO While I was never a fan of the Venom movies, The Last Dance is a new low. The previous two films had an (almost) entertaining self-awareness, but aside from some silly bits from time to time, this movie takes itself bizarrely seriously. It tries to deepen the relationship of its central characters, but it falls flat with sloppy action and an exceptionally large amount of exposition. And the ending is laughably bad. You can say I don't know how to have fun all you want, but this is yet another soulless 2024 comic book movie that wound up a disaster. QUENTIN Objectively speaking, as a superhero movie, The Last Dance isn’t great. It’s bogged down with an absurd amount of exposition, plot holes you could drive a truck through, an in-name-only and mostly faceless villain, generic end-of-the-world stakes, and a CGI-laden finale that is so poorly done that it’s hard to see what is even happening. All that said, I would watch Venom and Eddie (Tom Hardy) bicker and banter for 10 more movies. Their dynamic makes for a delightful bromantic comedy, and I genuinely laughed out loud more watching this than I have at most every other comedy this year. It’s the definition of dumb fun.

80 FOR BRADY Starring: Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field, Billy Porter, Harry Hamlin, Bob Balaban, Sara Gilbert, Glynn Turman, Jimmy O. Yang, and Tom Brady Director: Kyle Marvin ADRIANO 80 for Brady is a hard movie for me to criticize because I’m well aware that I’m not the film’s target demographic. I can criticize the fact that a lot of the scenes feel like director Kyle Marvin simply moved on after the first take, and I can say that it’s not exactly the funniest movie; however, my audience, which was filled with older women, was having the time of its life. So, it is a fun time - one filled with a decent heart and good chemistry between the four leads - for the right person. I just couldn't get into it. JACOB Although it fails to elicit genuine emotion at every turn and, frankly, it’s as “just fine” as almost any movie like it can be, 80 for Brady does retain a certain level of charm beyond its underwritten dramatic edges. Watching this ensemble of legendary female talent throw themselves into ridiculous hijinks time and time again won’t make its story better or its characters any deeper, but it does lift the spirits a bit, especially as a few of the jokes are disarmingly funny. I wouldn’t recommend it to anyone per se, but I had a nice time despite its shortcomings.

THE FLASH Starring: Ezra Miller, Michael Keaton, Sasha Calle, Kiersey Clemons, Michael Shannon, Ron Livingston, and Maribel Verdú Director: Andy Muschietti QUENTIN To say The Flash has traveled a bumpy road would be an understatement, but, for the most part, it was worth the wait. In many ways, it’s DC’s version of an MCU movie. It’s surprisingly funny while maintaining a solid emotional core, and the action scenes are a blast. Plus…and I admit nostalgic bias…the Michael Keaton and Danny Elfman of it all, who are featured way more than I expected, made me giddy with joy. It’s not one of the “greatest superhero movies ever” like James Gunn said, but it’s at least Top 3 for the DCEU and better than most of Marvel’s Phase Four. JACOB While it’s certainly better than it has any right to be given where its tumultuous production started from, The Flash nonetheless buckles a bit under the weight of a thematically confused message that seems to actively work against everything the film is doing. It’s a fairly average offering with decent set-pieces and solid side characters, but Barry Allen (Ezra Miller) is no more compelling here than he was before. Meanwhile, the humor still mostly goes for the easy jokes, which end up falling flat. That said, the film works best when it leans into its heart. ADRIANO The Flash is not one of the best superhero movies ever made. In fact, it’s one that has left my mind almost entirely. If nothing else, it’s a fun time travel/superhero film, with some of the emotions landing as intended, but that’s about it. Sasha Calle is my personal standout, even if her character isn’t well-utilized, and while the film isn’t a cameo fest, there is some soulless nostalgia-baiting. Add in that it gets needlessly convoluted, especially in the final act, and boasts CGI that is, to be blunt, terrible, and you’ve got a movie I’d recommend lowering your high expectations for. AMARÚ Director Andy Muschietti understood the damn assignment: set the tones early, blend them together beautifully, and have a fucking blast. He directed The Flash into a comic-book film that is more fun than I’ve had with one in a while, paying homage to the campy greatness of early superhero films while also utilizing the genre’s best evolutions to their utmost ability. The comic book aspects are cool as hell, the emotional beats connect, the humor isn’t forced, and the performances are all solid. Yes, the CGI is what it is, but I didn’t care because the film was a vastly enjoyable experience. NICK The Flash isn’t perfect. A lot of the action looks like it's taken straight from a video game cutscene, and most of the cameos feel hollow since they add nothing to the story. Despite that, the film itself is well structured. Michael Keaton doesn’t miss a beat returning as Batman in a sizable role, while Sasha Calle provides an alternative Kryptonian that pleasantly shakes up the landscape. You probably know by now if you're a fan of Ezra Miller’s Barry Allen or not, but he does provide some particularly emotional scenes here. Is this film the greatest of all time? No. Is it fun? Yes. PAIGE The Flash may not be my favorite DCEU film, but boy it is up there! This movie has a whole lot of heart, laughter, and bombastic action. While it’s noticeably flawed, including the clunky third act and odd CGI choices, it still manages to be a riveting comic book movie that delivers the goods. The way director Andy Muschietti is able to balance all these characters without taking the limelight away from Barry Allen (Ezra Miller) is something that deserves recognition. As we know, the multiverse can be a tough thing to execute, and DC managed to pull it off pretty damn well this time.

ALL OF YOU Starring: Brett Goldstein, Imogen Poots, Steven Cree, and Zawe Ashton Director: William Bridges KATIE All of You is a hopelessly romantic film that I found ridiculously easy to enjoy. Leads Brett Goldstein and Imogen Poots have enough passionate chemistry to overcome the underdeveloped near-future sci-fi concept that is established early on because, ultimately, this is about their organic connection that developed independently of apps and algorithms. It also explores interesting questions about whether we can choose who we love, and if there is one single choice we can make that will save us from a lifetime of potential uncertainty. Overall, this is a beautifully bittersweet romance that left me with a lump in my throat. ADRIANO I'm noticing a pattern with titles like All of You that's getting annoying: the romantic drama with a large science fiction concept, but tries to remain grounded with its character writing. This one only really differentiates from other “big idea” titles in that its sci-fi concept doesn't mean much in the grand scheme of things. But honestly, when it comes to most romance films, even if it's the 100th variation you've seen, if the leads have good chemistry, then most is forgiven, and Brett Goldstein and Imogen Poots give All of You a layer of beauty that makes this worthwhile. BODE I can’t imagine that many remember Soulmates , the short-lived anthology series that Brett Goldstein co-created before his career blew up with Ted Lasso . But it seems like he certainly did, since All of You (which he wrote with co-creator William Bridges, who also directs) is essentially an episode of that show stretched out to feature-length. And for the most part, they expand on its themes quite well. It helps that Goldstein and Imogen Poots have wonderful chemistry, giving their will-they-won’t-they romance some heft as it progresses to its emotional finale. It’s a remarkably adult drama that comes recommended. PAIGE All of You does a solid job of showcasing that romance isn’t always rainbows and butterflies. Our leads, Brett Goldstein and Imogen Poots, have genuinely lovely chemistry, which is ultimately what is needed to make a romance movie work. That said, I can’t help but feel like I’ve seen this story a million times before. The dry British humor is cheeky and adds charm, but the writing can be stiff at times, and the overall story is a bit generic. The sci-fi gimmick of taking a test to find your soulmate is beginning to get repetitive, as we all know by now that there isn’t a true science to love. ROBERT If life is a series of moments, and you try to steal the best ones away, are you really living a full and happy life? That is one of the many heady questions All of You posits as it tells a sprawling and heartfelt love story between two lovers who have society and responsibility working against them. The writing and acting are superb as Brett Goldstein and Imogen Poots fully live in their relationship with inside jokes and longing looks, succeeding as friends fighting their true feelings for decades and always struggling. Turns out, Apple knows romance.

SPACEMAN Starring: Adam Sandler, Carey Mulligan, Paul Dano, Kunal Nayyar, Isabella Rossellini, and Lena Olin Director: Johan Renck PRESTON Spaceman , if nothing else, is a conversation starter. Adam Sandler continues to impress in his adeptness with any acting role he is given, and the film is mesmerizing with its beautiful cinematography and a particularly eerie character (Hanuš), voiced by Paul Dano. In truth, my adoration for its more compelling elements, including its lofty narrative about the human condition, the need for connection, and the exploration of what really matters in life, isn’t enough to pull it out of its esoteric and shallow hole. It doesn’t quite come together in the end, leaving me in a confused and rather somber state. AMARÚ There’s a weird thing that happens with Adam Sandler’s Czech accent in Spaceman . He doesn’t really attempt the accent, but he’s not speaking normally either, except, occasionally, when a New York inflection creeps through. It’s very fascinating to witness, if not well executed, and the movie is just as fascinating in its flawed execution. The premise is immediately intriguing, but something unintentionally funny or deadpan often takes you out of it. However, that disconnect brings about another premise that you're compelled to keep watching. This two-hour cycle of peculiarity ultimately ended in an uncanny experience I couldn’t help but enjoy. PAIGE Unfortunately, Spaceman is a plodding astronaut drama that gets lost in space. Apart from its pretty cinematography, decent score, and Paul Dano's calming vocal performance as the inquisitive and compassionate space spider, Hanuš, this self-serious sci-fi movie falls short on many levels. Carey Mulligan is underused, Adam Sandler is completely miscast, and the film struggles to evoke a thought-provoking contemplation on loneliness. All in all, we’re left with a simple man slipping down the rabbit hole, reliving his fragile memories and dealing with his mistakes. QUENTIN Spaceman is a slow-moving, meditative, and melancholy sci-fi oddity that, while I can’t say is something I loved overall, is *thisclose * to being a subtly brilliant examination of the human psyche, loneliness, and the evolution of a potentially fading love. Broken down to its individual parts, it offers a lot to be enamored with: Adam Sandler’s soulful performance, a talking spider (voiced terrifically by Paul Dano), and aesthetically pleasing, planetarium-esque visuals. However, despite all that, it’s a bit of a drag. Much like Steven Soderbergh’s Solaris , Spaceman is a worthy movie for extremely patient fans of cerebral sci-fi, but it’s certainly not for everyone. ADRIANO While I am very pleased to see Adam Sandler continue down a path that allows him to show off just how good of a dramatic actor he is, Spaceman is not great. It’s not horrible by any means, as there are some visually grand moments and Sandler is fantastic alongside a great vocal performance from Paul Dano; however, the film's attempts at deep and emotional wisdom are just too much at a distance, especially when it's in contrast to nonsensical world-building and a third act that makes no sense. I see genuine motives in this film, but the execution falls flat. CALEB Beneath its veneer of cosmic wonder, Spaceman lacks depth. Jakub (Adam Sandler) and Lenka’s (Carey Mulligan) star-crossed relationship is the focus of this space-drama, but their marriage isn't complex enough to justify the time spent on it. Jakub’s arc is extremely basic, and it’s a chore watching him come to the obvious realization that he should treat his wife better. Hanuš (Paul Dano), the telepathic alien, is likable, but his tendency to bluntly state how the protagonist is feeling gets old fast. Spaceman may look great, but its impressive visuals are wasted on a script that never really takes off.

LOU Starring: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Asha Bateman, and Matt Craven Director: Anna Foerster JOSEPH Assassin revenge films aren’t really my thing, but I get why they appeal to so many. Lou should attract the die-hard fans of the sub-genre since it has many of the popular tropes while offering up a few surprises of its own. Logan Marshall-Green and Allison Janney even give strong performances, though Jurnee Smollett is a bit uneven, unfortunately. That said, Lou is very derivative, just another rogue military assassin tale from Netflix. Ultimately, even with decent acting and cinematography, the end result is still middling and forgettable. QUENTIN Lou is a shabby entry in the already tired genre of “unsuspecting old person is secretly a badass.” In this instance, said old person is the usually excellent Allison Janney, who seems to want her Neeson Moment. It does not work in her favor. Be it typecasting or just her general look and demeanor (both in real life and on screen), I can’t buy the 62-year-old Janney as a grizzled ass-kicker. Throw in some barely workmanlike supporting performances and a few lazy twists, and Lou ends up being one of the most uninspired revenge action thrillers in quite some time.

GAZER Starring: Ariella Mastroianni, Renee Gagner, Marcia DeBonis, Grant Schumacher, and Emma Pearson Director: Ryan J. Sloan BODE If you mixed the general concepts of Christopher Nolan’s Following and Memento , filtered it through the eyes of the Safdies, and added just a dash of Cronenbergian body horror, you’d get an idea of what director Ryan J. Sloan has to offer with his self-financed debut feature, Gazer . I found much to appreciate in how effectively it pulled off its neo-noir homage, from its gritty 16mm cinematography, to its hauntingly jazzy score. It would have benefitted from a tighter runtime, as it feels overlong at nearly two hours, but there’s enough vision that I’m intrigued to see where everyone involved goes next. KATIE Gazer is a promising, if not tonally accomplished, debut feature. Director Ryan J. Sloan draws inspiration from Alfred Hitchcock, David Lynch, and David Cronenberg in this noir-style, paranoid thriller, but style and atmosphere are prioritised over narrative, which feels forgotten. This lack of momentum makes the nearly two-hour runtime feel challenging, especially in the long, quiet scenes that wander through dark streets. Plus, the constraints of the protagonist’s disorder were confusing and distracting, like her being unable to look at screens but being able to drive. The Memento -esque concept is initially compelling, but it contributes to the film’s aimlessness rather than engaging me in the story.

HAUNTED MANSION Starring: LaKeith Stanfield, Rosario Dawson, Tiffany Haddish, Owen Wilson, Danny DeVito, Jamie Lee Curtis, Chase Dillon, and Jared Leto Director: Justin Simien NICK There's a gritty animated sequence in Haunted Mansion that is both a highlight and a clear roadmap as to how this entire film should have been done. Instead, we get a snippet in that style, and the rest is just underwhelming effects and a story that does nothing to improve on the 2003 iteration. Not scary enough to appease horror fans, nor funny enough to consider itself a comedy, this film is decidedly mid. Although it boasts an eclectic cast, their talents are often wasted thanks to a bland script, save for LaKeith Stanfield, who has some nice heartfelt moments. Overall, it’s a missed opportunity. AMARÚ LaKeith Stanfield, Rosario Dawson, and newcomer Chase Dillon try their best to have fun with Haunted Mansion , but when the dialogue sounds like the purposeful overacting used for haunted amusement park rides, there isn’t much you can do to salvage it. There are instances where the 90s Halloween kids’ movie vibe they’re looking for shines through, but they’re too few and far between the disjointed scenes loosely connected by plot conveniences and cheesy conversations. That’s a nice try there Disney, but you could’ve done so much better with the talent you put on this project. ADRIANO Let’s just get this out of the way: Haunted Mansion is a bad movie. I enjoyed the 2003 film, and similar to that one, there is fun to be had despite its many flaws; however, this one feels way too manufactured for me to say I enjoyed myself. The cast is…fine. Owen Wilson got some laughs out of me, and LaKeith Stanfield is a really great lead. But it’s an hour too long, and its attempted exploration of grief is way too forced to be effective. At best, it might be worth watching when it comes out on Disney+. JACOB So far as I am aware, no one was actually asking for a remake of Disney’s The Haunted Mansion , but occasionally remakes no one asked for can become the exception to the rules of diminishing returns (see: Steven Spielberg’s West Side Story ). Unfortunately, this new rendition is one that can’t escape those rules. That’s not to say it’s outright bad, but there’s nothing about it that really pops beyond its ensemble, and only Tiffany Haddish and Owen Wilson seem to properly fit its (underdeveloped) script. Plus, since the film miscasts LaKeith Stanfield, there’s only so much it can believably pull off.