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.

DUNGEONS & DRAGONS: HONOR AMONG THIEVES Starring: Chris Pine, Michelle Rodriguez, Regé-Jean Page, Justice Smith, Sophia Lillis, and Hugh Grant Directors: Jonathan Goldstein and John Francis Daley NICK I’m not familiar with the lore of Dungeons & Dragons , not to mention that game adaptations don’t have a particularly strong track record, so to say my expectations for this film were low is apt. However, directors John Francis Daley and Jonathan Goldstein were careful to keep things simple and not fall into the habit of taking the film too seriously. This all leads to an impressively funny movie with an entertaining cast (headlined by the welcome return of Chris Pine playing the role of charming idiot) and some terrific visuals. It’s only March, but Honor Among Thieves may just end up my surprise of the year. QUENTIN To be perfectly honest, since I’ve never played the game and the trailers looked terrible in a way-too-goofy way, I had no real desire to see this movie. However, I can admit when I’m wrong, and much to my surprise, Dungeons & Dragons is an absolute blast. It’s like The Princess Bride sprinkled with a smidge of leftover grit from The Witcher . That said, to be clear, this is not a fantasy movie that happens to have jokes. It’s a straight action-comedy that happens to have dragons, and it generates several legitimate laugh-out-loud moments from both fully realized set pieces and throwaway one-liners. ADRIANO I could go on and on about how Dungeons & Dragons ‘ plot is filled with contrivances, conveniences, and wasted time. However, with that in mind, I really liked this movie because it’s just a dumb fun ride of adventure. I’ve never played Dungeons & Dragons, but that didn’t prevent me from enjoying the surprising amount of laughter or the cast that was clearly having as much fun as I was. I don’t think directors Jonathan Goldstein and John Francis Daley set out to create a masterpiece, they just wanted to take an audience on a ride…and they truly succeeded in doing that. DARRYL Somehow defying all odds, Dungeons & Dragons manages to entertain and delight. For fans of the game, the lighthearted tone and feel manage to replicate the fun of a weekend session with friends while simultaneously not alienating those unfamiliar with the source material. Chris Pine and Michelle Rodriguez fully lean into the camp and humor inherent in such stories, with the rest of the party following suit to give audiences a quick-paced, rollicking romp. It's an all-ages fantasy that manages to feel cheesy yet genuine in all the right ways. AMARÚ In Dungeons & Dragons , writers/directors John Francis Daley and Jonathan Goldstein’s lifelong love for D&D is noticeable through the film’s amazing visuals, incredible world-building, kinetic action, and charming performances. But it’s the way the writing blends that love into a fantasy version of Whose Line is it Anyway? that makes it great. One fantastical set piece builds to the next great comedic line, leading into an unbelievable action sequence, and then…and then…and then… It leaves you loving every delightful aspect, and even some lackluster dramatic moments can’t hamper the wonder weaved through this hilarious, imaginative, and surprisingly fantastic film. JACOB Dungeons & Dragons is likely to go down as one of the year’s biggest surprises, especially relative to expectations and its truly terrible marketing. Apart from a general lack of cohesion in its pacing and little emotional investment in the stakes of its story, this game adaptation from John Francis Daley and Jonathan Goldstein largely works thanks to a sincere respect for the source material and a healthy dose of fun. It’s also surprisingly funny, with most of the humor landing exactly as intended, especially from Chris Pine, while Michelle Rodriguez kicks ass in the film’s unfortunately too-few action sequences.

FIRESTARTER Starring: Ryan Kiera Armstrong, Zac Efron, Gloria Reuben, and Kurtwood Smith Director: Keith Thomas PAIGE What’s the saying, “if you play with fire, you’ll get burned?” For the remake of Firestarter , that statement is very much true. It has no spark of life or purpose, failing to rise to even its moderate potential. The film needs more plot to give us just a sliver of an emotional connection to its characters, and don’t get me started on how poor the fire visual effects are. The only thrilling thing about this flick is John Carpenter's score, but not even that could save this movie from the flames. JACOB Despite an intriguing premise, Firestarter can’t be bothered to follow through on a single idea it presents across its 94-minute runtime. Each time the film finds a new direction to follow, it abruptly shifts in tone and cadence, trying to be everything but committing to nothing. Is it a superhero movie? A domestic thriller? A horror film? These questions are never answered, and poor Zac Efron can’t seem to catch a break as his tentpole hopes are once again dashed. Inconsistent characterizations and vague gestures at genre commitment can’t save something this underdeveloped.

GOOD BOY Starring: Indy, Shane Jensen, Arielle Friedman, and Larry Fessenden Director: Ben Leonberg QUENTIN Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy… AMARÚ While Indy the Dog is one of my favorite performances to watch this year, his work also happens alongside overly dramatic voice-overs from his human counterparts. Although the cute hook is enough for me to turn on this uniquely delivered horror film, it isn’t enough to make Good Boy a good movie. Watching a sick human slowly break down from Indy’s perspective is as mundane as it sounds, and typical horror tropes like sharp music cues, dark shadows, and distorted figures in the background only solidify that this is nothing more than a slowly paced, uninspired scary story with a fur-filled, glossy sugarcoat. NICK All the hype you’ve heard about Indy the Dog is justified, as he is absolutely the reason to watch Good Boy . Now, you could make the argument that strategic editing plays just as big a part, but let’s not take credit away from this good boy. Beyond Indy - and some great video game-style third-person camera shots - I wish there was more here. The human performances don’t match the canine, and despite feeling all of Indy’s emotions, Good Boy doesn’t exactly give you reason to feel your own. I love the creative swing (much like In A Violent Nature ), but it could’ve been better. KATIE Good Boy is an entertaining, emotionally engaging horror film with a refreshingly unique premise. The genuinely moving performance from Indy the Dog, who is incredibly expressive and compelling all impressively without the aid of CGI, is the heart and soul of the film. It excels at maintaining tension and building suspense with minimal dialogue, thanks to its simple premise, Indy’s performance, as well as effective editing and a tight 73-minute runtime. Director Ben Leonberg finds creative ways to solidify focus with Indy, and I really enjoyed this strangely sweet, but very spooky, tribute to man’s best friend. ROBERT When the premise of Good Boy was described to me, I immediately thought of Courage the Cowardly Dog . While the gesturing and talking are toned down, the terror and the need for protection bleed through in Indy the Dog’s inspiring performance. The thematic elements of the haunting, which coincide with the illness of Todd, Indy’s owner, are effective and chilling, and the technical wonder of using the cameras to see from Indy’s perspective keeps you invested. I wish, despite the job they do to make us understand Todd’s plight, that they had made him and his sister more sympathetic; however, overall, the whole is greater than the sum. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of Fantasy Filmfest 2025.

THE KILLER (2023) Starring: Michael Fassbender, Charles Parnell, Tilda Swinton, Sala Baker, and Arliss Howard Director: David Fincher QUENTIN With only his second movie since 2014’s Gone Girl , director David Fincher returns to his dark thriller roots with the noirish The Killer , a lean assassin flick that pairs the slick planning sequences usually seen in heist movies with the deliberate tone and methodical pacing of Mindhunter . A tightly written revenge story, it features a dryly funny Michael Fassbender as he delivers Dexter -style voiceovers about how to be a successful assassin. Even if it is relatively straightforward, especially by Fincher standards, it’s no less compelling than some of Fincher’s best works, landing in the top tier of Netflix Originals. NICK The Killer may not be director David Fincher's top feature, but it's certainly in the upper half of his filmography. The director has crafted a tense and surprisingly humourous sensory experience that feel less like a film and more like a tense situation you've become immersed in. Michael Fassbender provides the nameless assassin with the exact cold and calculated persona the film requires, including an insightful inner monologue (think Dexter ), and though it may not be the most action-packed film you see this year, it boasts one of the most hard-hitting fight sequences you're bound to come across. Overall, another winner for Fincher. ADRIANO When it comes to the story, The Killer is not without its flaws, but it's a badass David Fincher flick, nonetheless. The majority of its runtime is a meticulous procedural process that the film insists we go on, and while that may sound grating, it's endlessly fascinating and surprisingly funny. Fincher's modernized style takes us through the invigorating stoic eyes of Michael Fassbender, and every detail that gets picked up on is a blast. The editing and score help make this film a joy ride too, even if the ending is a bit rushed. All in all, The Killer is a well-planned and executed thriller. AMARÚ There is a line in The Killer that basically amounts to “if you can’t deal with boredom, this life isn’t for you.” Well, that same idea proves that this movie isn’t for me. While director David Fincher and star Michael Fassbender (the titular killer) take an interestingly introspective look at this kind of work, it feels too much like a stakeout, with a lot of waiting around for something interesting to happen. When something does happen, you take notice (fight of the year candidate included), but ultimately, this look at the mundane life of an assassin is not what I was hoping for. CALEB The Killer is one of director David Fincher’s most challenging projects to date. You can appreciate the movie as a meditation on labour, career, and perfectionism, but it’s certainly not the white-knuckle thriller some were expecting. The film is as cold, calculated, and patient as its protagonist, and this restrained approach might alienate a lot of Fincher’s die-hard fans. The Killer is a thought-provoking experience that certainly held my attention, but rarely had me on the edge of my seat. It’s definitely worth a watch, but it’s a shame that its story wasn’t as compelling as its thematic undertakings. KATIE The Killer is a cold, calculated, yet forgettable assassin thriller. It's undoubtedly stylish, modern, well-crafted, and meticulously shot, but it's also mundane and slightly tedious, with a lot of waiting around for something to happen, accompanied by an exhaustive voice-over. My issue is not that the film lacked sentiment, but that it has an emotional detachment that goes beyond the sociopathy of the protagonist and borders on uninteresting. However, Michael Fassbender gives a fantastic performance as the remorseless hitman, while Tilda Swinton lights up her brief screen time with wit and charm. PRESTON The Killer is a mashup of two great movies, John Wick and Drive , but is so much less successful than either or their sum. I don’t like criticizing the director (David Fincher) of some of my favorite works, but my own inner narrative compels me to do so. Character development is lacking, lighting is particularly terrible, and stylistics trump storytelling. I love the calculated-killer-capitalist whose emotion flickers in the light of personal tragedy, but the innovative approach to the assassin’s more mundane tasks is not enough to distract from the film’s failings. I didn’t hate it, but I probably won’t re-watch. PAIGE While extremely stylish, The Killer is a cold and simplistic revenge story. This gritty crime thriller allows director David Fincher to prove once again that he is an attentive craftsman; however, I must admit that this time around, I felt that he was more reserved behind the camera and played it safe with the story. I was intrigued by the introspective narrative approach of our lead, played by the underrated Michael Fassbender, but the film lacked heart. It seemed as if Fincher cared more about the technical aspects of the movie than the actual story. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

JESUS REVOLUTION Starring: Jonathan Roumie, Joel Courtney, Kelsey Grammer, Anna Grace Barlow, Nicholas Cirillo, Kimberly Williams-Paisley, Mina Sundwall, Charlie Morgan Patton, Julia Campbell, and Jolie Jenkins Directors: Jon Erwin and Brent McCorkle JACOB Jesus Revolution doesn’t quite have the problem most religion-based movies do in terms of being poorly constructed or having weak performances, but that doesn’t mean it’s free from some of the same old clichés. The two different storylines don’t really line up, the “issues” the characters face are magically cured once their faith starts, and the speaking cast is – you guessed it – all white except for two people. That said, it does more to address the dangers of hyper-charismatic religious movements than most films of its kind do, even if it ultimately fails to actually confront those dangers. JOSEPH Jesus Revolution caters to both the secular and faith-based communities…until it doesn’t. It paints a nuanced but sanitized picture of the anti-war hippie movements, while also showing the often unspoken dangers within those communities. Kelsey Grammer does a solid job, but it’s Jonathan Roumie who steals the show with his performance as a censored version of Lonnie Frisbee. Unfortunately, the film loses focus towards the end, making it feel more like an advertisement for church rather than the exploration of a movement. Overall, Jesus Revolution mostly preaches to the choir, so it will resonate with evangelicals, but for others, it’s likely a hit or miss.

GHOSTED Starring: Chris Evans, Ana de Armas, and Adrien Brody Director: Dexter Fletcher NICK What starts off as something that can only be described as "if a Hallmark movie starred A-listers" quickly settles into being a generic action movie filled with clichés and set pieces that leave a lot to be desired. This thing is rough. Every character feels miscast, but Chris Evans as the needy hopeless romantic is the worst offender; meanwhile, Ana de Armas (who nailed a similar role in No Time to Die ) gives one of her worst performances yet. Even the soundtrack choices feel out of place. The one thing it got right, however, is the title, as Ghosted is destined to be forgotten. JACOB There isn’t likely to be another film released in the first half of the year that wastes its potential as thoroughly as Ghosted . An unfunny rom-com and spy thriller devoid of excitement, the indecisively-written film simply runs a paint-by-numbers gambit by letting Chris Evans and Ana de Armas – two powerhouse performers in their own right – lift all the weight of a two-pound dumbbell off its pages. Neither of their characters are in any way compelling, the action sequences are generic at best, and some truly terrible editing choices prevent what could have been disposable fun from being nothing but hollow noise. JOSEPH Action-comedy romances are pretty much my new favorite genre, and Ghosted succeeds as the latest offering. The chemistry is believable and the cast is hot, but the jokes vary in quality. Unfortunately, the eye-candy nature of Chris Evans does make it difficult to buy his humble, everyman farmer-boy backstory, but his comedic presence makes up for it. The plot is simple and fun, but the antagonists are unnecessarily complicated, with Adrien Brody merely doing what he can to get through it. As for Ana de Armas? No notes. Sure, the film could have been better, but it's still an entertaining date-night popcorn flick. QUENTIN Ghosted is by no means a good movie, playing like a lazy, gender-swapped version of Knight and Day ; however, if you’re in the right mindset, it’s not entirely unwatchable either. That said, Ana de Armas and Chris Evans have zero chemistry, and the action sequences are pedestrian, at best. But most of all, Evans is simply miscast. Having Captain America play a clingy loser akin to Jon Favreau’s character in Swingers just doesn’t work. Still, the soundtrack is nice, there are some fun cameos, and as a person whose stateside home is D.C., it was cool to see my old ‘hood (Navy Yard) on screen. AMARÚ There’s a five-minute sequence in Ghosted that works extremely well in its self-referential, hilarious satire. The rest of the film, however, isn’t intelligent enough to pull off parody, cute enough to pull off romance, or shot well enough to pull off action-comedy. I expected so much more from a Chris Evans/Ana de Armas-led romp directed by Dexter Fletcher. Evans and de Armas’ pre-existing Knives Out chemistry isn’t enough to overcome the cliché, poorly written script that Fletcher failed to salvage before phoning it in to the editor’s room. The music is kinda cool, though. ADRIANO Ghosted is the kind of fake movie you’d see at the beginning of Tropic Thunder because nothing about it feels real. The script is an AI-generated minefield of lame jokes and undemanding plot points, and I never once felt this relationship was authentic. Kudos to Chris Evans and Ana de Armas for trying, but even they can’t make this script believable, while Dexter Fletcher directed this film with the look and vibe of a Hallmark film. I never once felt that this was the creation of a group of people passionate about a project over the lifeless drab it really is. PAIGE As cute and charming as Ghosted seems, director Dexter Fletcher couldn’t seem to crack the code with this action-packed rom-com. Ana de Armas and Chris Evan’s chemistry is the only thing that lifts this film up from the not-so-good screenplay. The script is honestly a HOT mess that seems to have had too many cooks in the kitchen (four male writers!). Sure, the movie has some sparks of fun, but just don't expect much more from it because there is a whole lot of mediocrity here.

EVERYTHING EVERYWHERE ALL AT ONCE Starring: Michelle Yeoh, Ke Huy Quan, Stephanie Hsu, Jamie Lee Curtis, and James Hong Directors: Daniels NICK The buzz for Everything Everywhere All at Once is sure to focus on its insanity and the wild effects, but at its core, it’s a wonderful story of family. Both Michelle Yeoh and Ke Huy Quan are tasked with performing in a variety of genre styles throughout, and they navigate each of them impeccably. However, it’s the directing duo of Daniels that elevates the story and its visuals to rare heights, as the film is a feast for the eyes. There are notes of The Matrix and Into the Spider-Verse , but the duo has created something that genuinely stands on its own. A true masterpiece. ADRIANO Everything Everywhere All at Once absolutely assaulted every one of my senses, and I could not get enough of it. Writing/directing duo Daniels’ multiversal film takes place mainly in an IRS building, yet it feels like we travel the entire planet. While absurdly funny and cool, it’s also a total rollercoaster of emotions. It’s the type of movie that had me audibly laughing at buttplug-related combat to being on the verge of an emotional breakdown in the very next scene. It is one of the best and most unique film experiences I have had in a very long time.

HOW TO TRAIN YOUR DRAGON Starring: Mason Thames, Gerard Butler, Nico Parker, Nick Frost, Gabriel Howell, Julian Dennison, Bronwyn James, and Harry Trevaldwyn Director: Dean DeBlois AMARÚ Having seen the original countless times, it’s hard to judge this remake strictly on its own merit since I knew what was coming. But I do envy those who haven’t seen the animated version, because they are in for a blast. The visuals are even more breathtaking in live-action, the story beats still hit hard, and it’s really good to see Gerard Butler embody Stoic as well as he voiced him. But truly, this film came down to whether Mason Thames could deliver his own version of Hiccup without feeling like a shell of Jay Baruchel. Well, kudos to him, because deliver he did. ADRIANO I'm sure I'd be hotter on How To Train Your Dragon if a much better version didn't already exist. The acting is serviceable, and the sets are solid recreations. Some of the cinematography looks rough, while some sequences look great. But this movie is more egregious than even Disney's live-action remakes (for the most part) with its shot-for-shot adaptation. Director Dean DeBlois returning does give it more heart and weight than, let’s say, Lilo & Stitch 's recent lifeless debacle. But I can't in good faith give this movie credit for what amounts to the strengths of another movie. NICK As someone who has never seen the original How to Train Your Dragon (I have a bit of a DreamWorks blind spot), I enjoyed my first trip to Berk. The world-building is fresh, the characters are endearing, and I liked its focus on various relationships (Hiccup and Toothless are the focus, but there are many others such as Hiccup/Astrid and Hiccup/Stoick). I'm not as negative on these "shot-for-shot" remakes in a new medium as others are, as I believe they help these stories reach new eyes. It’s just a matter of whether they maintain the soul of the original which this one seems to do.

FATHER MOTHER SISTER BROTHER Starring: Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps, Sarah Greene, Indya Moore, and Luka Sabbat Director: Jim Jarmusch QUENTIN Like most anthologies, the three chapters of Father Mother Sister Brother aren’t created equal. While they all boast great performances, the intrigue conjured is inconsistent given how they are placed in the film’s structure. For example, the second chapter is so much like the first that it’s repetitive. Variety between those two chapters would have worked wonders. There also are recurring references throughout the film that are there for no other reason than to create a Leo-pointing-meme moment. However, once the distinctly different third chapter ends, the movie’s lovely intent is revealed, which is when you realize this is about the destination, not the journey. ADRIANO It must be said that I have a mixed history with anthology films. With that in mind, I actually did find stuff to admire about Father Mother Sister Brother , even if its emotional pulls are fleeting. Each story is full of silent implications, giving us mere hints to piece together what's happening in each family dynamic, but the connections each story brings do come together in a surprising manner to examine three types of fractured family dynamics. But aside from maybe the last one, it’s too cold to leave the fierce impact that writer/director Jim Jarmusch wanted to bring. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2025 Zurich Film Festival.

SPIDER-MAN: NO WAY HOME Starring: Tom Holland, Benedict Cumberbatch, Zendaya, Jacob Batalon, Jon Favreau, Alfred Molina, Willem Dafoe, Jamie Foxx, Benedict Wong, Tony Revolori, Marisa Tomei, Angourie Rice Director: Jon Watts QUENTIN It’s damn near perfect. That’s it. That’s the review. NICK Marvel had a tough task ahead of it with this film. Anticipation was through the roof due to casting rumours, and it had to contend with what’s been a lackluster start to Phase 4. All of that considered, this is a difficult film to critique. Fan service and nostalgia aside, it’s an authentic Spider-Man story, blending the right recipe of electric action sequences and grounded humour that the franchise is known for. It’s also a great chapter in the arc of Peter (Tom Holland) and MJ (Zendaya), which is easily the MCU’s best love story. Kudos all around. JACOB No Way Home finds the MCU back in fine form after suffering a misstep with Eternals . But while the film succeeds in its execution, it lacks some of the other Spidey films’ storytelling efficiency. In trying to do so much all at once, the story stretches itself a little thin, filling the space with either jokes or fan service – both of which work – but mostly at a surface level. That said, this is certainly more cohesive and fun than Far From Home , the heart on its sleeve is palpable, and it’s far more emotional than I was expecting. ADRIANO No Way Home is a Spider-Man movie that delivers in every way it possibly could have. While the narrative struggles a bit in the first act, it somehow is able to walk the line between coming-of-age story and superhero epic, resulting in a movie that is both badass and sweet. It has a surprising amount of heart to it too, with some moments being truly emotional, and while there is a lot of fan service, it never once felt like it was there for its own sake. All said and done, it’s an incredible movie. PAIGE Dude… No Way Home swings headfirst into the multiverse as possibly one of the greatest entries in the MCU! The film has some predictable moments and could have been a bit more suspenseful, but it’s full of heart and emotion. It’s also epic to see Willem Dafoe, Alfred Molina, and Jamie Foxx back as the OG villains, forcing MCU Peter (Tom Holland) to confront a past that’s not his. Oh, and let’s not forget that director Jon Watts makes his strongest entry yet behind the camera! Whichever universe you are from, never forget that with great power comes great responsibility. AMARÚ Given the hype and expectations, you enter No Way Home anticipating the weightiness of Endgame , but are quickly reminded that everyone involved has a strong handle on this Spiderverse’s identity. The coming-of-age approach that carried the series’ first two films is refined to produce the grandest, yet most personal, MCU-Spidey story, not to mention Tom Holland’s best performance as Peter Parker. Yes, there is plenty of fan service, but every bit is earned with paralleled emotional weight. This is easily a Top 5 MCU film and arguably the coolest Marvel movie ever made. JOSEPH There’s little more I can say about Marvel’s newest Spider-Man film other than it’s pretty great! It’s hard to go into detail as to why it’s one of the MCU’s best without delving into spoiler territory, but while it may be grandiose and epic, there are also plenty of personal and grounded stakes as well. The humor and in-jokes can be a little tacked on at times, but it’s never too distracting. Thanks to some daring and bold choices, Tom Holland and Marvel have Spider-Man fully realized in this film, further showing their ability to blend spectacle with meaningful stories.

X Starring: Mia Goth, Jenna Ortega, Martin Henderson, Brittany Snow, Scott Mescudi, Owen Campbell, and Stephen Ure Director: Ti West ADRIANO X is an absolute blast! The first half of this movie is a fun, raunchy, 70’s bop, and all the performances are pitch perfect for the tone it’s going for. It also builds some great tension. The second half is when shit goes down. As a massive slasher fan, I was definitely delighted by the creepy and brutal direction the film took. Writer/director Ti West’s slow building tension made me want to look away, but for the life of me, I couldn’t because I was so desperate to know what would happen next. NICK We often talk about films’ ability to transport us to a different time. Well, writer/director Ti West succeeds on that in droves with X . This film feels like it was filmed in the 70s thanks to its attention to detail and shooting style. In fact, the setup and slow burn are so well done that when things go off the rails later in the film, it lost that authentic feel for me a little. Saying that, the film is still an admirable entry into the horror genre, boasting some great performances and some good ol’ southern-fried murder.