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FREESTYLE 101: HIP HOP HISTORY Starring: Open Mike Eagle, Iron Solomon, Ice-T, and Chuck D Director: Frank Meyer AMARÚ While Freestyle 101 delves into interesting aspects of freestyle rap (region-specific definitions, scientific research, battle rapping), the film’s piecemeal structure creates major lulls through its first hour. Video quality fluctuates between interviews, certain freestyle breaks overstay their welcome, and identical clips are used multiple times, making it seem like the filmmakers weren’t sure how to fill the runtime. It wanders listlessly until they channel the storytelling through independent artists Open Mike Eagle and Iron Solomon. Once they focus on these subjects, the documentary is an alright addition to this year’s celebration of 50 years of Hip-Hop. QUENTIN While the montages of people freestyling make for a decent enough distraction, the history and interview aspects of Freestyle 101 leave a lot to be desired. Between the rudimentary history lessons, the testimonials that feel dated and cheaply done like a workplace training video, and the overall repetitiveness, this doc is probably best for people who know absolutely nothing about freestyling and hip-hop. On top of that…and obviously this won’t be the same for everyone…but despite his reputation, I don’t think Iron Solomon, one of the main focal points here, is all that great (or he at least pales in comparison to Open Mike Eagle).

ABIGAIL Starring: Melissa Barrera, Dan Stevens, Alisha Weir, William Catlett, Kathryn Newton, Kevin Durand, Angus Cloud, and Giancarlo Esposito Director: Matt Bettinelli-Olpin and Tyler Gillett ADRIANO A word of advice: it might be best to go into Abigail without the mindset that it's a horror film because the overbearing score and overall tone make the film seem more like a heist thriller, for better and for worse. That said, while some of the rules in the writing are nonsensical and the third act goes too far off the rails, I had way too much fun with Abigail . The entire ensemble works off each other amazingly, and once the shit hits the fan, it's an ultra-gory blast that made me forgive its obvious shortcomings. AMARÚ Sometimes, I wish Giancarlo Esposito just wasn’t in a movie because he’s the sole reason I decided to see Abigail . While I don’t regret watching, it did nothing to sway me towards liking horror. The Radio Silence directorial team brings flashes of Clue and Murder by Death to this horror comedy, but it’s nowhere near funny enough or clever enough to reach those heights. People still make dumb decisions, characters are still cliché, and even though Melissa Barrera, Dan Stevens, and a stand-out Kevin Durand try to bring some nuance, they don’t bring quite enough to say it’s anything more than fine. PAIGE While Abigail may get off to a slow start, once the game of cat and mouse begins, the movie really picks up steam and takes off. It becomes a bloody blast! Directing team Radio Silence succeeds in crafting an excellent blend of horror and comedy with this vampire flick. If you’ve seen the trailers, you know what to expect from the movie, and while it may not reinvent the wheel in any way, it’s an utter delight. This campy gore fest is a hell of a ride, thanks to its charismatic cast, who elevate the story with their performances. KATIE Abigail is a ridiculously fun time that had me both laughing out loud and wincing at the gore. It's unashamedly camp and excessive, and Alisha Weir is amazing in the titular role, moving effortlessly between adorable and menacing. Despite the stale dialogue, the ensemble cast each make the most of their roles and have great chemistry. My only issue is that it's slightly overlong, not knowing when to end its finale. I imagine I would not have been as impressed had I seen the trailer and known the premise, but going in blind made this a bloody and fun surprise. PRESTON Abigail may be a victim of its own trailer, as what would have otherwise been a spine-tingling revelation serves as a mundane step in the plot marching forward. Instead, this gory vampire flick proceeds with a predictable unfolding of events that doesn’t break any known molds. While not self-serious, it still doesn’t come close to the campy cleverness of Matt Bettinelli-Olpin and Tyler Gillett’s previously directed Ready or Not. One highlight is a dance scene set to the awesomely chilling sounds of Danzig's “Blood and Tears” (I won’t mention the stupidly conflicting effects of the exposure to the sunlight, though…oh, oops). CALEB When Alisha Weir gets to do her thing, Abigail is a blast. The movie is at its best when the tiny vampire queen is running amok, but there just isn’t enough of her doing that. The other cast members dominate the runtime, and they aren’t nearly as entertaining as she is. By the third act, Abigail (Weir) gets sidelined by another, much lamer antagonist, and it results in a convoluted, unsatisfying conclusion that caps off the movie on a low note. I still had a good time with Abigail , but I wish it played to its strengths and let lil’ Abby have a bit more fun.

CODA Starring: Emilia Jones, Troy Kotsur, Marlee Matlin, Daniel Durant, Eugenio Derbez, Ferdia Walsh-Peelo, Amy Forsyth Director: Sian Heder JACOB CODA is one of the most heartwarming films of 2021 and a landmark achievement for the representation of deaf actors in Hollywood. Moment to moment, writer-director Sian Heder’s brilliant script is having the conversation that no one else in Hollywood seems to be having at this scale, which makes the film easy to get lost in and impossible to stop thinking about. Star Emilia Jones absolutely nails it as Ruby Rossi. Her vocal and physical performance sells every minute of her character's journey, and the supporting cast is right there matching her every step. It's a wonderful experience. ADRIANO CODA is a hard film not to fall in love with. Writer-director Sian Heder’s film explores a community of people that is rarely represented on film, while also touching on themes of family and love. The entire ensemble is wonderful, with Emilia Jones shining bright and Troy Kotsur, Marlee Matlin, and Daniel Durant speaking volumes without saying a single word. The film is both funny and heartfelt, and it just makes you feel warm while watching it, especially the third act. Yeah, I cried. Twice. CODA truly is a feel-good movie that is easy to watch over and over again.

LAST NIGHT IN SOHO Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg, and Terence Stamp Director: Edgar Wright NICK Last Night in Soho is a beautiful and haunting tale. Director Edgar Wright's ability to transport the viewer back to the 1960s is sublime, especially when paired with such wondrous visuals. On the technical side, this should be an awards juggernaut. On the performance side, ladies and gentlemen, Thomasin McKenzie. The actor's recent work has been good, but this is one of those performances that will make you seek out her next project. This is another triumph for Wright, who is on the shortlist of directors that can sell a film on name alone, an accolade the man has earned. ADRIANO It's hard to express how much I loved Last Night in Soho in under 100 words. Edgar Wright's time-bending psychological horror shows he's in full control of his unique and beyond-entertaining style. The writing has laughs, twists, and remarkable characters that balance incredibly well with the film's themes of exploitation and nostalgia. The two headlining actresses are the best they've ever been, but it's Thomasin McKenzie that blew me away. As for the film's technical aspects, everything is firing on all cylinders, especially the costumes and cinematography. The final 15 minutes goes a little overboard, but this movie floored me. QUENTIN Aside from most of his Cornetto trilogy (loved The World’s End , not so much the other two), I’m generally a fan of filmmaker Edgar Wright, which makes it all the more disappointing that I didn’t care for Last Night in Soho . Long story, short: this movie is the epitome of lipstick on a pig. Every bit of production design, from the sets to the costumes, is a beauty to behold, while the soundtrack is the absolute tits. However, all the goodwill that those things generate is wasted as they support a boring mess of a story full of uninteresting characters.

CASSANDRO Starring: Gael García Bernal, Roberta Colindrez, Perla De La Rosa, Joaquín Cosío, Raúl Castillo, Benito Antonio Martínez Ocasio, and El Hijo del Santo Director: Roger Ross Williams AMARÚ Gael García Bernal is a revelation as the titular character in Cassandro . He’s a mesmerizing figure you can’t keep your eyes off, carrying the film’s seemingly purposeful impromptu qualities with unwavering charisma. Like the underground lucha libre matches Cassandro starts with, the movie feels grimy and urgent, with messages too important not to get right the first time. Its pacing, fight choreography, and Creed -like score embody the hunger that Bernal infuses in his portrayal of the real-life trailblazer. Cassandro , the film and the performance, is an intimate portrait of perseverance and personal awakening that is truly captivating. CALEB There’s a lot to love about Cassandro , but I think it could’ve packed more of a punch. I’m all for subtlety, but the film feels too restrained for such an eccentric character. The quiet, intimate moments are executed beautifully, but the ring-side action is consistently underwhelming. The cinematography during these sequences feels distant and static, failing to match the exciting physicality of Gael García Bernal’s performance. There’s no denying that this is a great story, but I wish it was told with more of the signature flair that Cassandro (Bernal) brought to the sport. PHILL Cassandro is filled with moments that should be awe-inspiring and uplifting, but it often fails to leave an impact in the ring, hurt far too often by a cyclic, bland score that seriously hinders several key scenes. The biopic of Saúl Armendáriz (Gael García Bernal) isn’t a complete disaster, but it does feel rushed and undercooked, with too many character actions being inconsequential to the plot because the story structure lacks focus and breathing room. However, dressed in impeccable costume design, Bernal carries Cassandro in a genuinely endearing and exceptional performance, encapsulating everything fabulous about the “Liberace of Lucha Libre.”

THE WRATH OF BECKY Starring: Lulu Wilson, Seann William Scott, Michael Sirow, Courtney Gains, Aaron Dalla Villa, Matt Angel, and Denise Burse Directors: Matt Angel and Suzanne Coote NICK I don’t know who has been clamouring for a sequel to 2020’s Becky , but The Wrath of Becky is here for them, and while there’s certainly some entertainment value throughout, it’s pretty much worse in every way. Seann William Scott’s villain isn’t near as menacing as Kevin James’, the tone changes into something more campy but lacking in humour, and the kills are less memorable. That said, I can’t say I hated it. It’s dumb fun, and Lulu Wilson is clearly having a blast. I don’t particularly want Becky 3 , and I don’t particularly need Becky 3 , but if it happens, I’ll likely be back. QUENTIN I’ve never seen a movie more perplexing in its existence than The Wrath of Becky , a sequel to 2020’s Becky , a movie only notable because Kevin James played a neo-Nazi. The weird thing is that it’s not terrible despite shifting from a gritty handheld approach to more fluid Steadicam. It also leans more into almost literal winking-at-the-camera camp. However, at 80 minutes, it never overstays its welcome. Lastly, the ending incredulously sets up a franchise and mysterious MacGuffin for the future…which, okay, sure...and honestly, I’d probably watch another one, especially if they continue casting comedic actors as Nazis getting their comeuppance (Seann William Scott, this time).

BLUE BEETLE Starring: Xolo Maridueña, Bruna Marquezine, Adriana Barraza, Damián Alcázar, Raoul Max Trujillo, Susan Sarandon, and George Lopez Director: Ángel Manuel Soto AMARÚ Blue Beetle has a mustache-twirling, corporate evildoer problem, but not so much so that it sabotages the heart that director Ángel Manuel Soto infuses into the rest of the film. Combining dynamic action with vibrant humor, Soto keeps Latino culture and strong familial values at the story’s core to make Jamie Reyes (Xolo Maridueña) and his family indispensable components of the DCU’s future. Maridueña is a star, but it’s his endearing relationship with La Familia Reyes (VAMOS NANA!!!) that holds the movie’s appeal. That, plus a seamless integration of the superhero’s comic history, allows Blue Beetle to overcome the failings of the villain aspect. ADRIANO My expectations for Blue Beetle were low because the trailers didn’t excite me and I haven’t been impressed with DC recently. So, I suppose it’s a win that I found this movie to be, at worst, watchable. As a superhero movie, I’ve seen it before. It’s predictable to the point that it feels like there was no effort given to make it otherwise. However, the family aspect is where the film’s strengths lie. Between its genuine heart and a great lead performance from Xolo Maridueña, you have the best DC movie to come out this year… but only by default. JACOB While Blue Beetle isn’t likely to revive the superhero genre or DC’s bottom line, it’s still one of their more successful projects from a character perspective. Xolo Maridueña shines as the titular protagonist, and when the film is focusing on him, his family dynamic, and their Latino heritage, it’s really singing (Belissa Escobedo also is a standout). Where the film falls short is with its villain. Simply put, Victoria Kord (Susan Sarandon) is essentially a racist caricature with a mostly cartoon henchman. That said, these problems are largely overcome by surprising emotion and solid action. PRESTON I had high hopes for Blue Beetle to be a champion for the Latinx community in the superhero arena, but DC dropped the ball again. The acting feels stiff and unpracticed, with Xolo Maridueña as the exception, and everything from the set design to the editing feels careless, haphazard, and often unrealistic. But I am mostly disappointed by the missed opportunity to shine as something unique in an otherwise overdone genre. The loving family dynamic is heartfelt, but it suffers in the backdrop of the film’s overarching missteps. I hope the sequel can take advantage of a recipe that is primed for something special. PAIGE While Blue Beetle isn’t perfect by any means, it shimmers by having lots of heart. There also is plenty of fun to be had throughout this popcorn flick, especially with the Reyes family. With that said, those are the only aspects of the film that truly excel. Susan Sarandon’s mustache-twirling villainess takes you out of the film completely, and just does not work at all. Overall, this latest DC entry is your run-of-the-mill origin story, with no new attributes to make it stand out from the other superhero movies we have gotten over the years. PHILL Blue Beetle is another entry in the increasingly tiresome genre of superhero cinema. Though the stakes are refreshingly smaller than many recent superhero films, it unfortunately suffers mundane action sequences featuring atypical CGI characters crashing into each other. However, it’s the family dynamic that is the heart of this latest DC entry led by Xolo Maridueña, who is genuinely excellent and clearly having an absolute blast. Whilst the question of which DC cinematic universe this takes place in might be a little hazy, Blue Beetle is self-contained and grounded enough that it doesn’t overly matter at this point. NICK Yes, Blue Beetle feels like other 90s superhero movies as it's formulaic and familiar. Having said that, the charisma of Xolo Maridueña as Jaime Reyes is undeniable, which elevates the material. It's evident how much fun he is having with the character. Beyond him, the presence of his family adds a nice touch, though George Lopez as Rudy Reyes can be a little overbearing. The importance of the Latinx representation cannot be overstated, but I wish it came with a more unique formula. I didn't love Blue Beetle (nor hate it), but thanks to Xolo Maridueña, I'm looking forward to seeing the character again.

EXHIBITING FORGIVENESS Starring André Holland, Andra Day, John Earl Jelks, Ian Foreman, Aunjanue Ellis-Taylor, Jamie Ray Newman, and Matthew Elam Director: Titus Kaphar KATIE Exhibiting Forgiveness is a poignant film that explores family trauma through a father-and-son relationship damaged by a history of abuse. First-time director Titus Kaphar’s artistic style and talent are clear in the film, which features his stunning paintings and sculptures throughout, and uses them very effectively to explore emotional trauma. The cast is incredible and swept me up in the gripping emotional drama, particularly André Holland’s raw performance as Tarrell. Unlike other films focused on estranged relationships, Exhibiting Forgiveness doesn’t view reconciliation as a prerequisite for forgiveness, resulting in a nuanced, tentatively hopeful film that will stick with me. AMARÚ Exhibiting Forgiveness is a gorgeous film. First time writer-director Titus Kaphar captures images as vibrant and light-filled as one of his paintings, and starting the movie depicting how artistry should allow people to live brought a brightness that was sorely needed in this heavy story. André Holland is outstanding as a father trying not to pass on his trauma, a son trying to move on from his past, and an artist trying to capture the love and pain of it all. He and his co-stars capture the complicated nature of forgiveness and redemption, and the light you choose to find in life’s darkness. ADRIANO Occasionally, I'll watch a directorial debut in disbelief that what I'm watching is from a first-timer. My latest experience, Exhibiting Forgiveness , is the writing/directing debut of Titus Kaphar (a painter), and although it can be familiar, the film takes a sincere approach to the idea of... well, forgiveness. It's not easy, nor is it always fair, but forgiving others and yourself for past trauma is as healing for you as it is for them. Mix that with an excellent ensemble and cinematography that is stunning but not glossy, you've got yourself a wonderful hidden gem that deserves to be found.

ISS Starring: Ariana DeBose, Chris Messina, Pilou Asbæk, John Gallagher Jr., Costa Ronin, and Maria Mashkova Director: Gabriela Cowperthwaite QUENTIN As far as B-movies go, especially those that get quietly dumped in theaters during the doldrums of January, I.S.S. offers enough tense astronaut-related thrills to keep one entertained for 95 minutes. Yeah, it’s predictable, and sure, it will remind you of everything from Gravity to Pandorum to Stowaway to even Alien , but still… Given the context of the release and dearth of expectations surrounding I.S.S. , it does a solid job of building the claustrophobic paranoia necessary to make this simple story work. Add in the fact that the story is plausible, not to mention the moral questions it asks, I’d call it a pleasant surprise. KATIE I.S.S. presents a simple yet compelling concept that makes the most of its unique setting. Exploring the dynamics of a group of astronauts amid mounting paranoia and distrust, it generates a sense of palpable tension that is emphasised by growing external threats. However, despite its strong start and impressive visuals on a limited budget, I found it lost some of its initial sense of dread while also lacking some of the excitement and heightened threat found in other space thrillers. That said, this is a fun watch that sustained my interest, and it’s elevated by engaging performances. PAIGE As opposed to aliens, the major threat in I.S.S. actually is the monster that exists inside of us. This gripping sci-fi thriller presents a clever concept, but unfortunately falls short due to its lack of stakes. Nevertheless, it's still captivating enough to hold viewers' attention. Plus, director Gabriela Cowperthwaite does a fine job of making the most of the claustrophobic tension inside the spaceship while also making sure that I.S.S. remains a character-driven drama despite the main action taking place on Earth. NICK With January being a bit of a down month for film quality, I wouldn’t be surprised to see I.S.S. gain a little traction. The unsettling premise survives on its frighteningly possible real-world implications (which dials the tension up to 11) and solid ensemble, featuring the burgeoning Ariana DeBose alongside a The Newsroom reunion of John Gallagher Jr. and Chris Messina. Although it doesn’t quite reach the heights it aims for, it’s never not engaging as it harkens back to the days of 1990s B-movies. It's not going to light the world on fire, but it’ll make for a more than serviceable movie night.

THE CARD COUNTER Starring: Oscar Isaac, Tiffany Haddish, Tye Sheridan, and Willem Dafoe Director: Paul Schrader NICK The Card Counter is a vehicle for another fantastic Oscar Isaac performance. He keeps you engaged with his mysterious character every minute he is on screen while fitting perfectly into the film's dark and brooding tones (which Tiffany Haddish brings a welcome contrast to). Unfortunately, the film stumbles in the editing. While it has solid direction and writing, the score (or lack thereof) really messes with the flow of the film. Sometimes, it's used where it doesn't fit; other times, it's completely non-existent, leaving the film feeling unfinished. A blemish on an otherwise solid film. JAMES The Card Counter is hypnotic. Director Paul Schrader’s slow camera and prolonged takes are reminiscent of Blade Runner , and the vibrance of the casinos and cityscapes give the movie a dreamlike feel. This feeling is enhanced by the shifting soundscapes and vocals that echo throughout the film. Oscar Isaac brings his characteristic depth and stillness to the main character and forces every actor he shares the screen with to slow to his pace - something very few performers are capable of doing. The result is an intimate confessional of a film that's going to stick with me for a long time. JACOB A far cry from the quality of First Reformed , Paul Schrader’s The Card Counter isn't bad as much as it's difficult to get a read on. From the beginning, the film distinguishes itself as poorly shot and badly produced, with its garish lighting betraying its limited budget to ill effect. Yet, as it continues, one can sense seeds of greatness below its technical shortcomings. The writing is ambitious and Oscar Isaac is excellent (even Tiffany Haddish impresses), but Tye Sheridan feels woefully miscast. It's okay enough to pass the time, but as an awards contender? I wouldn't bet on it. QUENTIN Between The Card Counter and First Reformed (among other movies he has made), I’m starting to think I’m just not a fan of writer/director Paul Schrader anymore. Like most of his recent work, The Card Counter is annoyingly slow despite featuring a compellingly brooding Oscar Isaac. There are long, quiet stretches without music or dialogue, and Tiffany Haddish is woefully miscast, failing to have a shred of chemistry with Isaac. If you want a poker movie (to be clear, this is not a poker movie despite what the marketing might lead you to believe), just watch Rounders again.

BEAU IS AFRAID Starring: Joaquin Phoenix, Patti LuPone, Nathan Lane, Amy Ryan, Stephen McKinley Henderson, and Parker Posey Director: Ari Aster NICK What do I even say about Beau Is Afraid ? Some people ADORE this film. Some people HATE it. I understand both reactions. For me, I find it similar to last year’s White Noise : an ambitious film (basically) broken into acts with varying levels of success. There are many aspects I enjoy…Joaquin Phoenix works great as man-child Beau and there is some exceptional camera work and visuals…but it doesn’t amount to a succinct film unhampered by its runtime. It’s not a write-off, and it’s filled with subtle details begging for a re-watch, but it is still ranked third in director Ari Aster’s three-film filmography. JACOB If anything can be said for Beau Is Afraid without refute, it’s certainly Ari Aster’s most audacious film to date, and somehow one of Joaquin Phoenix’s strangest turns. A horror comedy of lengthy proportions, this saga of chaos and confusion takes less of a conventional route through terror and instead establishes itself as something akin to a prolonged surrealist anxiety attack. It certainly didn’t need to be three hours long, and the entirely unexpected third act will be make-or-break for most people, but I can’t say I wasn’t fascinated or eager to see what would happen the whole way through. ADRIANO I love Ari Aster’s previous films, so my hype for Beau Is Afraid was sky-high. Although I liked it, it does feel a little too self-indulgent for me to praise its ambitiousness. Joaquin Phoenix is reliably great, as is Patti LuPone; however, the film’s first hour introduces the surrealism in a funny and engaging way before the second hour lost me. At that point, most of what is happening on screen feels like it’s only happening to cater to Aster. By the end, I understood what he was going for, but it left a conflicted taste in my mouth. PAIGE Beau (Joaquin Phoenix) might be afraid, but director Ari Aster sure isn’t. This movie is honestly one of the most obscure and maddening movies I’ve ever seen. It feels like a full-blown fever dream that has the anxiety knob cranked up to eleven. It’s a lot to take in, and like Aster’s other films, I admire the craftsmanship put on display through his style and production design while simultaneously never wanting to watch this ever again. Of course, Phoenix is great as expected, but this movie is not for me, and it probably won’t be for many others either outside of huge Aster fans.

LUMINA Starring: Eric Roberts, Emily Hall, Andrea Tivadar, Gino McKoy, Sidney Nicole Rogers, Eleanor Williams, and Ken Lawson Director: Gino McKoy KATIE Maybe I didn't understand Lumina , but I was constantly shocked and, at times, impressed by the lack of character development or reasoning for anything that happens. I did not understand the relationships between any of the characters, who are of little consequence and seem to materialise out of nowhere only to disappear just as quickly, and we’re given no insight into their ridiculous motivations. Plus, the excruciatingly shoddy and cheap-looking CGI is about as convincing as the awful performances. Nonetheless, some of the line deliveries and bad CGI are entertaining in their own way, resulting in something so disastrous I nearly had a good time. QUENTIN In 2015, I bought a car for $500. The paint was flaky and faded, the saggy cloth seats had cigarette burns, and when you cranked the AC, the headlights dimmed noticeably. It was an embarrassing and creaky shitbox, but it was, technically, an automobile. After months of “fuck this car,” I donated it for the tax write-off. Where am I going with this? That car was a 2000 Chevy Lumina. Gino McKoy’s sci-fi horror Lumina evokes that car’s memory. Is it technically a movie? Yes. Is it an embarrassing, “fuck-this-movie” shitbox that should have been shelved for the tax write-off? Also yes.