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.

THRASH Starring: Phoebe Dynevor, Whitney Peak, Alyla Browne, Stacy Clausen, Dante Ubaldi, Sami Afuni, Tyler Coppin, Chai Hansen, and Djimon Hounsou Director: Tommy Wirkola NICK Thrash is dumb fun without any of the fun. As someone who has seen their fair share of shark films, I can't recall one with so little... bite. The shark sequences create no real fear or tension, which leaves them often feeling inconsequential to the story. It doesn't help that their prey is a bunch of flat, undeveloped characters. An opening Hurricane scene is entertaining, but somehow writer/director Tommy Wirkola failed to maintain that entertainment once he integrated sharks into the flooded town. You’d think it would be the opposite. ROBERT Thrash won’t be able to escape the comparisons with Crawl , no matter how hard it swims against that current. That is unfortunate because, unlike Crawl , this movie doesn’t grab and hold the tension and danger of the ongoing situation, especially during the shark attacks. People are bitten and must escape, and it doesn’t seem like it matters all that much, which speaks to the bad performances. Also, even in a hyper-realistic situation, there are nonsensical decisions made throughout to keep the plot moving, making a dumb movie appear dumber. Much like how the characters had to trudge through flooded streets, this was a slog. KATIE Thrash could have been entertaining if it focused on delivering bloody B-movie thrills, but instead, it's unfocused and lacks momentum. The extreme weather is a more imposing and interesting threat than the sharks, which ironically lack any real bite. There’s no sense of tension, and the shark attacks are underwhelming, especially since they’re seen so frequently. The set pieces also disappointingly lack any excitement, and it follows multiple stories, all of which feel underdeveloped and distract from one another. It sometimes leans into its ridiculous premise enough to be funny, but ultimately fails to deliver. BODE I don’t ask for much when it comes to creature features. As long as you deliver the mayhem that’s inherent with that genre in a fun manner, I’m satisfied. But with Thrash , writer-director Tommy Wirkola delivers a sharksploitation picture that’s severely lacking in fun, mayhem, and most importantly, sharks. What’s worse is that it spends much of its 86-minute runtime jumping between multiple (frankly, underdeveloped) survival arcs that bafflingly never intersect, which drains the film of whatever momentum it could’ve mustered. With the right execution, Thrash could’ve been the next Crawl . Instead, it sinks like a stone.

FOUNTAIN OF YOUTH Starring: John Krasinski, Natalie Portman, Eiza González, Domhnall Gleeson, Arian Moayed, Laz Alonso, Carmen Ejogo, and Stanley Tucci Director: Guy Ritchie ADRIANO For a filmmaker like Guy Ritchie, who is full of style and juice, Fountain of Youth is depressingly lacking any of those hallmarks. It's the most Netflix movie imaginable, except this one happens to be on Apple. Personally, I don't believe John Krasinski has movie-star charm, and the movie lacks a lot because of it. The story is fine, the action is fine, and there is nothing inherently offensive here, but it's sad to see Ritchie direct something so flat and empty in a style that is far too passing to be fun. QUENTIN As a fan of globe-trotting treasure hunt movies like National Treasure , Indiana Jones , and even the less-than-stellar Sahara , Fountain of Youth scratches an itch that has long needed scratching despite lazily ripping off all the aforementioned titles. Sadly, the “been there, done that” of this particular story saps the cool wonder these types of movies usually elicit, not to mention that it rarely feels like a Guy Ritchie movie, which, as a fan, is disappointing. However, John Krasinski's playfully roguish charm and my admitted genre bias do more than enough to kickstart a franchise I’d gladly continue watching, especially if National Treasure 3 isn’t happening. BODE Watching Fountain of Youth , you can tell that director Guy Ritchie and screenwriter James Vanderbilt have played Uncharted because it arguably captures the spirit of that video game better than its own movie adaptation at times, especially visually. It proves that shooting these globe-trotting blockbusters on location matters, even if they bypass a theatrical release like this one. It’s just a shame that, despite some fun bits, the film never rises above average, seemingly settling on predictability. It doesn’t help that John Krasinski and Natalie Portman never fully gel as siblings. It’s definitely not incompetent. It’s just forgettable. NICK Had Fountain of Youth come out in the early 2000s, I may not have enjoyed it as much; however, as movies like this are far rarer nowadays, it was a nice treat. A throwback adventure title, it evokes memories of films like The Mummy and National Treasure with John Krasinski in the Brendan Fraser/Nicolas Cage role. It’s nothing you haven’t seen before, and I caution any expectation of a “Guy Ritchie film” as his trademark style is missing in action, but it’s a nice comfort watch from a neglected genre. Sometimes that’s all you need.

MY DEAD FRIEND ZOE Starring: Sonequa Martin-Green, Natalie Morales, Ed Harris, Morgan Freeman, Gloria Reuben, Utkarsh Ambudkar Director: Kyle Hausmann-Stokes ROBERT War and family drama often coincide as worlds bleed over and compartmentalization becomes impossible. My Dead Friend Zoe expertly overlays each side for Merit (Sonequa Martin-Green) to unveil a complete mosaic of trauma. Zoe (Natalie Morales) anthropomorphizes that for Merit as the part of her subconscious that won’t let go and forgive herself, but not for the reasons you think. With the gravitas of Ed Harris and Morgan Freeman buoying the peripheries, this is a story made by soldiers, with soldiers, but is ubiquitous in its message on easing the struggle with support. PAIGE Kyle Hausmann-Stokes' beautiful directorial debut, My Dead Friend Zoe , is based on a true story about his experiences after serving in the military that sheds light on those that hold onto the past and struggle to push through the pain. Despite the film's weighty subject matter, Hausmann-Stokes handles it in a surprisingly lighthearted and wholesome way. Because of Sonequa Martin-Green and Natalie Morales' sincere performances, you will laugh and cry throughout this movie. All in all, even though the movie has a somewhat inconsistent tone, I didn't mind because it has a satisfying emotional payoff that makes it worthwhile to see. BRYAN Kyle Hausmann-Stokes’ directorial debut, My Dead Friend Zoe , showcases a devastatingly raw turn from Sonequa Martin-Green in a heartbreaking yet surprisingly heartfelt tale about a military veteran battling PTSD and regret. Tackling a story with this subject matter requires a lot of thought and care, which Hausmann-Stokes thankfully does. It was impressive to see the balance of making one laugh one minute and cry the next, even if the tone does come off as inconsistent at times. A solid debut from a filmmaker with lots of promise. I definitely won’t be listening to a certain Rihanna song the same way again. NICK My Dead Friend Zoe was firmly on my radar due to the overwhelming praise of Ed Harris’ performance, and although he is very good here, I was more impressed with Sonequa Martin-Green. She’s tasked with balancing a range of different emotions as a post-war veteran and comes off incredibly honest throughout. Director Kyle Hausmann-Stokes injects levity into the darker subject matter to keep it from ever feeling too heavy. This in turn gives you a film which is less about grieving and more so about healing. Even without being a veteran myself, it makes for quite a cathartic watch.

WE LIVE IN TIME Starring: Andrew Garfield and Florence Pugh Director: John Crowley ADRIANO It's entirely possible that timing with personal things that happened in my life recently played a part, but I fell for We Live in Time . I recognize its shortcomings, namely that it's predictable and the film's non-linear storytelling doesn't add anything. That said, director John Crowley and writer Nick Payne seem to have had sincere intentions in making this, as the movie isn't overly sappy. It’s never trying to get tears, and is much funnier than you'd think. Plus, Andrew Garfield and Florence Pugh's chemistry and charm add a lot, making this a lovely film, warts and all. PAIGE We Live in Time is a sweet and charming romantic flick that will pull at your heartstrings. The movie has a somewhat basic plot, but it does a wonderful job of exploring its theme of choosing to live life to the fullest for however long we have through the use of a nonlinear format, which is quite beautiful. Florence Pugh and Andrew Garfield also have such fiery chemistry together that it makes their characters feel incredibly authentic and endearing. Even though We Live in Time is a somewhat generic movie, it is a beautiful love story that you will fall head over heels for. AMARÚ Many recent films have been utilizing nonlinear narratives, with most faltering when their not-so-airtight scripts tell singular stories. Luckily, We Live in Time is more about life as a whole than a particular journey, highlighting that when you focus on the present time, the journey (and movie) you end up with turns out to be quite lovely. Florence Pugh and Andrew Garfield have natural chemistry, enhancing a truly heartfelt screenplay that makes you laugh, cry, and delightfully melt. Their endearing nature and John Crowley’s honest direction makes for a sorrowfully earnest romantic comedy that, rather than feeling emotionally manipulative, genuinely earns your tears. KATIE We Live in Time played me like a fiddle. Andrew Garfield and Florence Pugh’s genuine chemistry imbues their romance with authenticity, and the inevitable conclusion established by the non-linear storytelling enhances the message of living life to the fullest and truly being present to make the most of the limited time we have with our loved ones. It's both deeply moving and surprisingly full of humour, featuring one of the best birth scenes I’ve ever seen, and presents an uplifting way of coping with grief. Plus, it's hard for me not to love a film featuring both of my favourite biscuits. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

HIT MAN Starring: Glen Powell, Adria Arjona, Austin Amelio, Retta, and Sanjay Rao Director: Richard Linklater NICK Who knew director Richard Linklater could be so sexy? What he’s crafted with Hit Man is an edgy rom-com that features dynamite chemistry between stars Glen Powell and Adria Arjona, both of whom made every one of their scenes together bubble with an underlying eroticism. The performance of Powell, in particular, impresses as the role requires some serious range. If there was any question after Top Gun: Maverick and Devotion as to whether Powell could be a star, that’s silenced here instantly. This is Linklater at the top of his game, presenting something that will not only appeal to his fanbase, but reach beyond that. ADRIANO Do you love movies? Yes? Then you'll love Hit Man . There isn't a lot to not love about it, to be honest. Co-writer/director Richard Linklater's latest produces belly laughs nearly non-stop, thanks to sharp writing and instantly lovable characters. Glen Powell's leading man charm is dialed up to 1000, and his chemistry with Adria Arjona is so good that I felt like I was intruding sometimes. As the film keeps going, the plot gets more and more interesting and entertaining, making for a film so calculated, so creative, and so sexy, that it must be seen to believe. QUENTIN Further proving what most people noticed in Top Gun: Maverick , Hit Man reiterates that Glen Powell is a bonafide star as he nimbly bounces between different personas in what may end up as the best pure comedy of the year. Director Richard Linklater, who has already directed several classics, gifts us another one with an effervescent romance crime movie that is dark, hilarious, intelligent, and charming all at the same time. Yes, it’s a sort of rom-com, but it maintains razor sharp edges, refusing to fall down the well of cliché and cheesy genre tropes. It’s like Linklater’s version of a Coen Brothers movie. CALEB Hit Man is remarkably unremarkable. Glen Powell is as charming as ever, but outside of his performance, there isn’t much to elevate this above your typical generic Netflix rom-com. I was expecting something more noteworthy coming from a director like Richard Linklater…maybe something with a bit more style. Unfortunately, everything about this movie is merely fine. The humour isn’t exceptionally funny, the sex scenes aren’t all that sexy, and the narrative doesn’t really become engaging until the third act. If you’re a big rom-com fan, you’ll probably enjoy it, but for me, Hit Man slightly misses its mark. AMARÚ Hit Man is all kinds of surprising that I really enjoyed. A refreshing, if a bit talk-heavy, genre mix-up that isn’t at all what you would expect. Glen Powell continues to flex his star power by making slower-paced, jargon-filled, slightly nerd-troped dialogue enthralling; and easy-to-get-wrong, multi-persona roles hilarious. However, it isn’t until Adria Arjona enters the picture that the film really shines. Their chemistry is off the charts, and by then, you’re already knee-deep into them as characters before you’ve realized you’re watching a charming-as-hell romantic comedy. A thrilling, twisty, wholly delightful romantic comedy. KATIE I found Hit Man underwhelming. Don’t get me wrong, Glen Powell is effortlessly charming, and watching him embody each different persona was very fun and entertaining. However, my engagement waned as it progressed as the film steadily loses momentum before an unexpected but rushed and ultimately inconsequential ending. Powell and Adria Arjona have great chemistry, but their relationship is too simplistic. Plus, Arjona’s character has no substance, seeming to exist only to wear sexy outfits. Coupled with a cast of underdeveloped characters and no sense of stakes, Hit Man is, disappointingly, just fine. PAIGE Even if Hit Man isn't my favorite Richard Linklater movie, it's still a damn good flick that may be one of the most delightful movies of the year. The many hats, or perhaps wigs, Glen Powell dons in the film allow him to fully showcase his capability as Hollywood's next (h)it man, and the chemistry between him and his co-star, Adria Arjona, is sizzling hot. This screwball rom-com is brimming with charisma and lighthearted humor while also doing a fine job of diving into the nature of one’s identity. It’s a perfect movie for a date night. PRESTON I am just amazed that after all of this time, and with so many movies within the rom-com genre, that original, clever works are continuing to be made. Director Richard Linklater shares with us exactly this in his newest Netflix release, Hit Man . What will surely be a common theme amongst any viewer is a newfound admiration, or at least the solidifying of veneration, for actor Glen Powell. His well-stocked rolodex of diverse and fantastic character portrayals demonstrate that he is fit for the most challenging of roles, and I look forward to seeing more of him in the future. SHADAN Hit Man is another solid entry from director Richard Linklater, who has established himself as one of the most consistent (and my favorite) directors in the game. The film is hilarious, twisty, and oh-so-sexy. Glen Powell’s lovable, awkward hitman proves he’s a movie star, but it’s his costar, Adria Arjona, who serves as the delightful discovery in a film filled with surprises. Sizzling chemistry and Austin Amelio’s memorable villain more than make up for a shaky script, delivering a fun romp you’ll want to revisit again and again. This film was reviewed by Adriano, Nick, and Quentin as part of Bitesize Breakdown's coverage of the 2023 Toronto International Film Festival and the 2023 Venice International Film Festival, respectively.