RUMOURS Starring: Cate Blanchett, Charles Dance, Denis Ménochet, Alicia Vikander, Roy Dupuis, Takehiro Hira, Rolando Ravello, and Zlatko Buric Directors: Guy Maddin, Evan Johnson, and Galen Johnson NICK As far as political satires go, Rumours is among my favourite, conceptually speaking. The directing team of Guy Maddin, Evan Johnson, and Galen Johnson fill the opening hour with clever jokes and visual gags, all of which is brought to life via a very solid ensemble, highlighted by Roy Dupuis (pure coincidence he plays the Canadian Prime Minister). However, after that first hour, things run out of steam as the clever intricacies are replaced by a more ridiculous tone. Although this worked for a film like Triangle of Sadness (which, coincidentally, also features Zlatko Buric), it works against things here. ADRIANO I'll always respect a swing for the fences, but you gotta have something to back those swings up. Rumours doesn't have that. I liked the ensemble, and it got some laughs out of me, but it pretty quickly falls off its central concept. Then, the laughter begins to trickle out, and the movie becomes utter nonsense. Its commentary on world leaders' incompetency is lazy, and for a movie with three directors, one of which is the seasoned Guy Maddin, it feels a lot like a student film. Rumours is just a really bad movie, plain and simple. QUENTIN As a political satire, Rumours is certainly clever, but probably a little too smart for its own good. It requires a certain level of winking, “if you know, you know” awareness, and I’m not sure audiences lacking a general knowledge about geopolitical reputations will get a lot of the jokes present in this surreal sci-fi comedy. That awareness is the difference between a movie worth your time and a movie that is merely a mildly amusing diversion. No complaints about the cast, though, all of whom are game for the B-movie weirdness happening on screen. PAIGE Rumours is an over-the-top satire on global politics that becomes less effective and less funny as it goes along. While it does have some fun with its campy camera work, ominous music, and bombastic performances, the script is a mess, and its stereotypical depictions of these political leaders are very one note. Having three directors helming the project kept the movie from being cohesive, as it veers off course while failing to make any kind of point. This absurd film runs out of steam fairly quickly and is pretty forgettable. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

THE MARSH KING'S DAUGHTER Starring: Daisy Ridley, Ben Mendelsohn, Brooklynn Prince, Gil Birmingham, Caren Pistorius, Garrett Hedlund, and Joey Carson Director: Neil Burger PRESTON The Marsh King’s Daughter is the ultimate tease as a psychological thriller, taking you right up to the point of exhilaration without actually coming through. The initial act sets things up nicely, but what follows is a boring slog that is further hindered by some confusing choices in flashback- and action-sequence camerawork. Daisy Ridley and Ben Mendelsohn are fantastic, though, and, as a film, this may have been the rare case where taking some creative license from the novel on which it is based might have added some pop to a story with an underlying premise that really had potential. QUENTIN Though it does nothing groundbreaking or anything particularly memorable, The Marsh King’s Daughter remains just engaging enough to function as a nice rainy-day distraction. Honestly, it feels a lot like a movie Ashley Judd would have starred in 20 years ago. That said, after an unexpected twist early on, it doesn’t seem to know what it wants to be, with some scenes feeling like they belong in a slasher movie while others are more family drama. Still, it all mostly comes together decently (even if it is predictable), and the performances are solid, especially Ben Mendelsohn. All in all, it was worth the watch.

FREAKY TALES Starring: Pedro Pascal, Ben Mendelsohn, Jay Ellis, Ji-young Yoo, Jack Champion, Dominique Thorne, Normani, Keir Gilchrist, and Angus Cloud Directors: Anna Boden and Ryan Fleck NICK There's no better compliment or descriptor I can give Freaky Tales than to say it's just a straight-up vibe. It captures the 80s perfectly with its music and overall feel while the anthology formula works to mask any of its plot shortcomings. Although it may feel directionless at times, patience will be rewarded as the stories begin to come together ahead of an explosive finale. From its infusion of animation, to its over-the-top characters, to a surprising yet pitch-perfect cameo, above all else, Freaky Tales is a purely fun and chaotic time. AMARÚ When you’re from The Town (a.k.a. Oakland) (or you lived there for a long period of time like I did), there’s a part of you that is always connected to its spirit. There’s no way to explain it unless you've lived it, but Bay Area native Ryan Fleck and his directing partner Anna Boden come heartwarmingly close to visually representing it in Freaky Tales . Their mix of gritty texture and retro-futurism allows an eclectic and entertaining ensemble to embody the revolutionary, family-centered, unfiltered, unfair but resilient East Bay culture. This film is hella Oakland, and honestly, that is all that needs to be said about how good it is. PAIGE Freaky Tales has cult classic written all over it. With four interconnected stories, this bonkers anthology film features an impressive ensemble and such fun cameos. It’s a bit messy narratively, and not everything ties together perfectly, but man, does this film have style. This campy, ultra-violent flick will certainly have you entertained from beginning to end with its stylish grindhouse vibe and zany energy. Not only did directors Anna Boden and Ryan Fleck craft a love letter to Oakland, but they accomplished it in a way that is both compelling and in line with the distinct aesthetic of films from the 80s. QUENTIN While Freaky Tales has moments of brilliance — notably the overarching presence of Too $hort as the narrator, an on-screen character, and a cameo in a movie about Oakland in the 80s — the Tarantino-esque story structure makes for a very disjointed viewing experience. There are multiple seemingly disparate chapters that, although they loosely tie together eventually, make it hard to become invested in the barely-there throughline. That said, a cameo here, a rap battle there, the stylish 80s pastiche, and a bloody finale provide enjoyment in a vacuum in the same way that watching a YouTube clip might. It just doesn't hold together well as a movie. KATIE I often find anthology films inconsistent with wildly varying quality, but Freaky Tales turned out to be one of my favourite films of 2025 so far. With four separate but interconnected chapters taking place in the same city, each story is equally as entertaining and fun, and whilst distinct, they come together without feeling forced. It indulges in different styles, and draws inspiration from various genres and aesthetics, from comic book-style visuals to Tarantino-inspired bloodshed, with an anarchic and mischievous energy that ties it all together. Along with the fantastic performances and unexpected cameos, Freaky Tales is a ridiculously fun time. BODE In the context of directorial duo Anna Boden and Ryan Fleck’s career, Freaky Tales is fascinating, especially since their previous work (which includes 2019’s Captain Marvel ) didn’t quite indicate that they had such a pulpy anthology flick in them. It’s also fun to see them take a big swing like this, even if the overall execution is a little too uneven (as anthology films often are) and surface-level (in terms of commentary and nostalgia) to leave a lasting impression. Still, there’s enough creativity in this blood-soaked love letter to Oakland that the impression isn’t…too short. Want to hear even more of our thoughts? Amarú, Nick, and Katie join Matt to take A Bigger Bite out of Freaky Tales HERE .

ORPHAN: FIRST KILL Starring: Isabelle Fuhrmann, Julia Stiles, Rossif Sutherland, Matthew Finlan, and Hiro Kanagawa Director: William Brent Bell NICK When you have a moderately well-received film that is memorable mostly for its twist ending, it’s a no-brainer to release a prequel to that film 13 years later, right? Yes, it’s fun to watch Isabelle Fuhrman step back into the role of Esther (which she does seamlessly), and director William Brent Bell doesn’t shy away from the camp; however, the problem is that once the nostalgia wears off, you’re left with an overlong film featuring a miscast Julia Stiles that doesn’t add much to the Orphan mythos. "Unnecessary" seems to be the best word to describe Orphan: First Kill . JOSEPH It’s a bold move to follow up a film like Orphan with a prequel 13 years later, so, honestly, Orphan: First Kill shouldn’t work. It surprisingly does though, even incorporating new twists to deepen Esther’s (Isabelle Fuhrman) lore. Fuhrman does a great job reprising the character, while Julia Stiles gets to show a side rarely seen from her. Overall, it’s a wild and tense ride that is more about the journey than the destination, yet every bit as messed up as its predecessor. Orphan: First Kill is sure to please fans of the original.

LAND OF BAD Starring: Liam Hemsworth, Russell Crowe, Milo Ventimiglia, Ricky Whittle, Luke Hemsworth, and Chika Ikogwe Director: William Eubank PRESTON I felt like I visited my own grammatically inept Land of Bad during my viewing of this Aussie-led, American war story. Shit gets blown up…so that’s cool. But, otherwise, you are in for a soulless action flick that is chock full of plot holes. Those with any military Special Operations knowledge should beware because you will have some difficulty dealing with the avoidable inconsistencies and the ridiculousness that is Russell Crowe as active duty Captain Eddie “Reaper” Grimm. I will say that I appreciated a story from a JTAC- unique perspective, but this should have been a straight-to-streaming release. NICK I don’t know how studios decide which films should hit the big screen and which to send to streaming, but the decision to release Land of Bad theatrically was a misfire. This is exactly the kind of film destined to bomb at the theatre only to find a second life when it hits Amazon Prime or Netflix, because it’s not bad! Liam Hemsworth is serviceable, yet unspectacular in the lead role, Russell Crowe chews on each minute of his screen time, and there’s a healthy dose of explosions. Is it particularly memorable? No. But it’s bound to satisfy your action flick appetite.

OH, CANADA Starring: Richard Gere, Jacob Elordi, Uma Thurman, Victoria Hill, Michael Imperioli, Penelope Mitchell, and Kristine Froseth Director: Paul Schrader QUENTIN Despite what other critics and Rotten Tomatoes might have you believe, director Paul Schrader hasn’t made a great movie in years. Sadly, Oh, Canada keeps that streak alive. The weird thing is that there are several things to like here, including a terrific performance from Richard Gere, poetic dialogue, and a great Americana-folk soundtrack, but all those things are squandered by lethargic and muddled storytelling that lacks passion. It wants so hard to be a melancholy treatise on life, death, and the regrets in between, yet it fails to make you care enough about the character to care at all about his remorse. NICK I keep giving modern Paul Schrader films a chance, but it seems his work just isn't for me. In fact, Oh, Canada may just be my least favourite yet. Although it's nice to see Richard Gere back on screen, and he's quite good in the film, Schrader has crafted something fairly boring, and every extra flourish he attempts in order to enhance things falls flat. Whether it's playing with timelines or colours (the black & white shots lack any vibrancy), I found myself waiting for the end, and even that wasn't very satisfying. I think Schrader may have run out of chances. ADRIANO Thank God, Oh, Canada is short because I struggled through this one. Richard Gere and Jacob Elordi are great, but writer/director Paul Schrader's meditation on life and taking into account one's regrets winds up being self-indulgent to the point where the film's thesis gets lost. Schrader’s approach is just too all over the place to even respect the ambition. Not every directorial and writing decision is awful, but the vast majority are a huge miss. On top of that, the ending is laughably bad. Granted, I haven't loved late-stage Schrader, but this is my least favourite from him. This film was reviewed by Quentin, Nick, and Adriano as part of Bitesize Breakdown's coverage of the 2024 Cannes Film Festival and 2024 Toronto International Film Festival, respectively.

THE INSTIGATORS Starring: Matt Damon, Casey Affleck, Hong Chau, Ving Rhames, Ron Perlman, Toby Jones, Michael Stuhlbarg, Alfred Molina, Paul Walter Hauser, and Jack Harlow Director: Doug Liman AMARÚ One of my favorite movie genres is stacked ensembles coming together to have tons of fun, and The Instigators is Ocean’s Eleven -level entertainment, with alums Matt Damon and Casey Affleck leading this comedy of criminal errors. Director Doug Liman reaffirms his ability to create great action movies with just the right amount of heart as he throws us straight into the fray with a breakneck pace, an intelligently quippy script, and irreverent yet genuine performances, especially from Damon. I couldn’t keep the smile off my face during this hilarious, rip-roaring heist-gone-wrong-in-all-the-right-ways. NICK Some of the best team-ups in film come from characters who find themselves working together due to happenstance, and The Instigators is yet another example. Led by Matt Damon and Casey Affleck, the pair's dynamic is what makes this film work as well as it does. With both being alumni of the Ocean's franchise, they channel that energy for an entertaining heist film filled with quippy dialogue and a collection of colourful side characters. After some questionable decisions in his recent work, it's nice to see director Doug Liman tackle a film like this. It’s a solid match. QUENTIN It seems most comedies nowadays have become straight-to-streaming fare that are reminiscent of the entertaining-but-forgotten comedies of my 90s youth, like Money Train , Nothing to Lose , and Bulletproof . The type of come-and-go movie I loved at 15-years-old, but probably has no real legacy outside of those who experienced it as an indiscriminate teenager. The Instigators is further evidence of that notion. Despite delivering some light laughs, solid odd-couple banter, inoffensive action, and a collection of random stars in bit parts, it probably won’t register very long for anyone outside of modern-day adolescents who will eventually have rose-colored, “The Instigators ? I loved that movie!” nostalgia for it. PAIGE Although The Instigators is an entertaining on-the-run movie, Doug Liman's blue-collar heist film is just another typical action comedy. Don't get me wrong, the material is elevated by the sardonic wit and dialogue, as well as the charming Boston accents from Casey Affleck and Matt Damon, but, overall, the genre isn't expanded upon. Plus, the plot is a little wonky at times. Though there is some fun to be had with this flick, and it was nice to see the accurate depiction of Massachusetts driving, just don’t expect the next great Boston crime film.

QUEEN OF BONES Starring: Julia Butters, Jacob Tremblay, Martin Freeman, and Taylor Schilling Director: Robert Budreau KATIE I’m struggling to muster the words to describe how I felt about Queen of Bones , a film that didn’t engage me in any way. The performances are all over the place, and the cast is so disconnected that none of the relationships are believable. The script doesn’t help, neglecting to develop the central family’s dynamics or emotional bonds, and I found that characters often stated their feelings and intentions in an unnatural way. The plot is disjointed and unfocused, and doesn’t explore the themes it establishes early on. Overall, Queen of Bones is regrettably underwhelming and forgettable. QUENTIN From a person who is often disappointed by atmosphere-driven folk horror movies like The Witch and Starve Acre due to their lack of momentum and sleepy vibe, Queen of Bones might be the worst offering from the genre in some time. To be perfectly blunt, this is 90 minutes of nothingness. No real twists or turns. No scares. No intrigue. No depth. Adequate but unremarkable performances and direction. This movie is so obviously predictable and instantly forgettable that I’m having trouble writing this review a mere few hours after the credits rolled. But if you suffer from insomnia, ask your doctor about Queen of Bones .

28 YEARS LATER Starring: Aaron Taylor-Johnson, Jodie Comer, Alfie Williams, Ralph Fiennes, and Edvin Ryding Director: Danny Boyle NICK In spite of becoming our resident zombie fan, I've never loved the 28 films. They're good, but they never blew me away. This most recent entry, however, really impressed me with its ambition. Director Danny Boyle has fit what feels like four films into one, all with tonal shifts, and managed to make it work. Although it can certainly be messy, that almost adds to the chaos of the world these characters inhabit. Boyle and writer Alex Garland have taken a dormant franchise, reinvigorated the universe and brought it back to life. Fitting for a zombie film, if you ask me. BODE Even when looking back, Danny Boyle is always looking forward. This was first evident in T2 Trainspotting (underrated), and is evident once more in 28 Years Later , which finds the director and returning screenwriter Alex Garland expanding upon their post-apocalyptic vision with bold formal swings not often seen in mainstream filmmaking (courtesy of cinematographer Anthony Dod Mantle and editor Jon Harris), humanism so sweeping you’ll be tearing up, great performances (Alfie Williams especially holds his own amongst a cast of veterans), and a chaotically beautiful score from first-time composers Young Fathers. It’s a major reinvigoration in nearly every way. ADRIANO I'm not going to pretend 28 Years Later isn't structurally wacky. Writer Alex Garland had plenty of ideas for a sequel, and threw all of them into one movie. Not to the point of feeling like several conflicting movies at once, but in the end, it felt a little messy. So, leave it to director Danny Boyle to make it coherent, while experimenting with wild cinematography and editing choices that simply rock, and yet, still find room for an effective emotional payoff. I'm conflicted about the ending, but I am hopeful for what's to come. ROBERT Everyone always credits The Walking Dead as being the reanimator of zombie media, but 28 Days Later had an eight-year head start that reminded the world of what we admire about pictures centered on the undead. The current iteration jumps us forward a few decades, emphasizing how mangled the UK is while the rest of the world is seemingly untouched. The first half is disorienting, like a mountain climber getting used to high altitude, logically mirroring what Alfie Williams’ Spike is feeling with his first venture to the infected mainland. The second half is more of a straightforward mission before the end pulls the rug out from under you, which would be jarring if it wasn’t so dang beautiful. QUENTIN While watching 28 Years Later , its random flourishes of archival footage, jarring tonal shifts, and a disjointed narrative — not to mention the dreaded “dumb kid making dumb decisions” trope — I wasn’t sure I’d walk away having enjoyed myself. However, after having a few hours to ruminate, I believe it ultimately works due to terrific direction, gorgeously experimental cinematography, and incredible sound design. Spike’s (Alfie Williams) coming-of-age throughline even ties the somewhat episodic presentation together in a way that provides emotional weight despite the disjointedness. The final sequence is hilariously bonkers, but I can’t say I’m not super excited to see more of it in the sequel. AMARÚ I rather dug the vibe director Danny Boyle and writer Alex Garland bring to 28 Years Later . Young Fathers’ music mixed with flashback intercuts, grainy texture, and skewed camera angles set a creepy and intense tone that establishes the weight of every day-in-the-life of Jamie (Aaron Taylor Johnson), Isla (Jodie Comer) and their son Spike (Alfie Williams), not just the one we are dropped into. That connection we feel allows the film’s wide range of tonal shifts to naturally progress into something quite emotional and unexpected. I’m now fully locked into how The Bone Temple will follow-up this hauntingly impactful tale. KATIE 28 Years Later is chaotic, but undeniably intense and entertaining. The incredibly immersive, and sometimes discombobulating, experimental cinematography and stylistic choices by Anthony Dod Mantle and editor Jon Harris throw you headfirst into the frenzied, bloody insanity without being too dizzying. The cast is fantastic, especially Jodie Comer and the young Alfie Williams’ deeply moving performances. However, the tonally dissonant final scene, with its painfully obvious sequel set-up, did not work for me. I found it ruined the high that this emotionally grounding coming-of-age story could have potentially ended on.

JOHN WICK: CHAPTER FOUR Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Lance Reddick, Ian McShane, Shamier Anderson, and Hiroyuki Sanada Director: Chad Stahelski NICK With this being the fourth entry in the franchise, you know what you're going to get from a John Wick film: minimal, almost robotic dialogue from Keanu Reeves, top-notch fight choreography, and a high body count. Bingo. Beyond that, you get the series’ best cinematography yet (including some incredible aerial and tracking shots) and a magnetic performance from Donnie Yen. The build-up is a little slow (yet deliberate), but once it kicks into gear, it’s a non-stop barrage of exceptionally high-octane action. Add in some jaw-dropping set pieces, and there’s no doubt, The Baba Yaga is back. JACOB If you’re a fan of the John Wick franchise, Chapter 4 is more than enough of what you want. The stunt work, cinematography, and sheer number of action sequences keeping the film feeling like two hours (as opposed to three) are likely to thrill audiences looking for an entertaining time in theaters. That said, the film does have its drawback: namely, there’s less story here than in any previous films, and it does overindulge itself on the action quite a bit, with some sequences long overstaying their welcome. Still, those sequences are flawlessly choreographed, and Keanu Reeves remains impossibly watchable. AMARÚ Laurence Fishburne perfectly encapsulates Chapter 4 two minutes into the film, proclaiming that “you are now in the presence of the motherf*****g KING.” The action, cinematography, and world-building are the series’ most epic, and the supporting cast (Clancy Brown, Shamier Anderson, Hiroyuki Sanada, Bill Skarsgard) bring the best balance of badassery and emotional resonance since the original. But it’s Donnie Yen that’s the MVP, forgoing the strong, silent archetype for his most charming stateside performance since Rogue One . Pairing Yen and this cast with Keanu Reeves’ titular character delivers the pinnacle example of this action genre royalty. QUENTIN If all you want from a John Wick movie is over-choreographed, neon-soaked gunfights with hordes of faceless henchmen, Chapter 4 more than delivers. It’s action-packed and entertaining, if not a bit exhausting. That said, I would have liked to see director Chad Stahelski take a creative step forward instead of just giving us more of the same. Donnie Yen adds some interesting spice as a blind badass, and there is an overhead tracking shot that might be the best sequence of the franchise, but some creative kills with outside the box weaponry, as well as a truly formidable antagonist, could have made for a better film. ADRIANO The John Wick franchise is a special one that has elevated the action genre to whole new levels, and even still, Chapter 4 is leaps and bounds better than the first three films. Storytelling isn’t anything to write home about other than the way they deepen the universe’s mythology, but the action sequences are mind blowing. The choreography is insane, incorporating techniques that feel like nothing I’ve seen before, and every single moment of this movie is shot incredibly by cinematographer Dan Lausten. If this is the standard the franchise now has to live up to, I can’t wait for what’s to come. DARRYL Chapter 4 not only makes for the best entry in the franchise thus far, but one of the best action movies of the last decade. Director Chad Stahelski's dedication to the genre pays off, as he delivers a nonstop thrill ride that will leave audiences just as exhausted as the character. Keanu Reeves once again brings a touch of heart to John Wick, making it impossible for viewers not to root for him as he scrapes to survive every known assassin in the world. With a number of dynamite action scenes set on lavishly produced sets, this is a must see on the biggest screen. PAIGE Chapter 4 is a masterclass in how a kickass action flick should be executed. The team behind the film delivers flawless stunt choreography, stunning camera work, and breathtaking cinematography. While it may not have the strongest story of the franchise, there's no denying that this installment is an exhilarating thrill ride from beginning to end with an exponential death count. I admit it’s a tad bit long with a nearly 3-hour runtime, but it makes use of it with massive action set pieces and incredible fight sequences. I’m honestly convinced that Keanu Reeves isn’t even an actor anymore, but an actual certified badass assassin.

SCOOP Starring: Gillian Anderson, Rufus Sewell, Billie Piper, Connor Swindells, Keeley Hawes, Romola Garai, Charity Wakefield, Lia Williams, and Richard Goulding Director: Philip Martin QUENTIN For fans of journalism movies, Scoop boasts enough of the typical hallmarks to keep genre fans mildly entertained, even if they ultimately walk away unimpressed and having not learned much. It’s almost too light and breezy, failing to truly capture the tense importance of the moment in the way that films like Frost/Nixon and Spotlight did. There is very little character development, nor are there any bombshell revelations about how it all went down. Newsnight asked for an interview, it was granted…and that’s pretty much it. Maybe it would have resonated more if I was a Brit, but for Americans, there just isn’t much here. KATIE Days before Scoop dropped on Netflix, Prince Andrew led the Royal Family into Easter Sunday service, his most recent appearance in a string of high-profile events. Although it feels too soon for a dramatisation of events from 2019, the film is a reminder that the Prince still holds a prominent position in public life. Scoop treats cameras like guns and the interview like a Western stand-off, adding tension to the familiar story. Although it struggles to engage with the seriousness of the crimes, Billie Piper’s performance as Sam McAlister brings some much needed emotional depth to what is a quite matter-of-fact account.

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.