HYPNOTIC Starring: Ben Affleck, Alice Braga, JD Pardo, Dayo Okeniyi, Jeff Fahey, Jackie Earle Haley, and William Fichtner Director: Robert Rodriguez QUENTIN While there is an interesting idea and a decent twist at its (only 90-minute) core, everything about Hypnotic feels dated. Between the procedural-meets-slight-sci-fi angle that was huge in the early 2000s (remember Déjà Vu and Next ?) to Ben Affleck’s surly, Max Payne -inspired line delivery, this movie might have been a hit during the actor’s Paycheck era. Still, I can’t say it’s boring, but it’s not particularly entertaining either since everything is so noirishly dark and dour. Mostly, I’m left wondering, 1. what happened to Robert Rodriguez, who used to be among my favorite directors?; and 2. why, in 2023, did Affleck sign on for this? NICK "Dated" doesn't even begin to describe how Hypnotic feels. It's the kind of movie you'd come across on TBS while channel-surfing in the late 90s (which makes sense as the script was written back in 2002). Not bad enough to be terrible, nor solid enough to be good, it just sits in mediocrity. The action, writing, and performances leave no lasting impression, and the fact that Ben Affleck spent time on this project is honestly perplexing. Hopefully, director Robert Rodriguez will stop wasting his time with films like this and turn his focus to the long delayed Alita: Battle Angel sequel instead. JACOB Hypnotic has a lot of promise in its base elements and grounded roots, but it does eventually fall victim to biting off more than it can chew. Conceptually, it’s an interesting (if somewhat predictable) watch, but in its execution, the story becomes so convoluted and messy that the audience doesn’t really have anything concrete to hang onto by the film’s end, making it feel ultimately fruitless. Even with Alice Braga and William Fichtner doing what they can to elevate the material, neither can save the viewer from noticing Ben Affleck’s boredom with a script that doesn’t give him much actual depth. AMARÚ One word I never thought I would connect with director Robert Rodriguez is “bland.” However, when it comes to his latest thriller, Hypnotic , even his stylized attempts at science-fiction can’t cover for the boring action, expositional conveniences, and… well… bland world-building. After about the 10th time Diana (Alice Braga) explained something to Danny (Ben Affleck) about the rules of Rodriguez’s super-powered world, I was checked out; Then, the line “What? I have powers all of a sudden?” was uttered and I couldn’t help but laugh incredulously at the rest of the film. Sorry, Rob, but this one ain’t it. PAIGE Hypnotic honestly feels like a Walmart-version of a Christopher Nolan film. While the concept of the movie is pretty cool, the imagery looks cheap and the script needs way more depth. The actors try their best to elevate it as much as possible, but the script leaves them all, especially Ben Affleck, with little to work with. The fact that Robert Rodriguez, a veteran director, made this is kind of mind-boggling because of how amateur it looks and feels. With all that said, Hypnotic is fast-paced and will keep viewers guessing throughout.

HARD TRUTHS Starring: Marianne Jean-Baptiste, Michele Austin, David Webber, Tuwaine Barrett, Ani Nelson, Sophia Brown, and Jonathan Livingstone Director: Mike Leigh ADRIANO I've been awaiting the next film from writer/director Mike Leigh, and while Hard Truths doesn't quite reach the heights of his best, it's still a great outing from the filmmaker. Marianne Jean-Baptiste is a force of nature here, especially in the first half, when she performs Leigh's ruthless dialogue with a natural ferocity that made me laugh a lot. The second half dives deep into the darkness that plagues the lead and her family with some unsettling realizations and heartbreaking facts. The ending will leave many unsatisfied with its ambiguity, myself included, but I was really into Hard Truths , overall. AMARÚ Life can truly be weird. Two people can experience the same circumstances, yet have two completely different outlooks on life. Director Mike Leigh’s Hard Truths is a tense look at the misery and joy people choose to carry with them. Marianne Jean-Baptiste is a force of fury that raised my stress levels to all-time highs, but her interactions with her life-affirming sister and two nieces (Michelle Austin, Sophia Brown, and Ani Nelson) poignantly make you ponder how you regard yourself and your relationships. Hard Truths is a bit overbearing without any true destination, but its performances provide genuine introspection and depth. PAIGE The truth about Hard Truths is that writer/director Mike Leigh gets the most out of his actors, particularly Marianne Jean-Baptiste, who excels in her portrayal of Pansy. She is able to masterfully express unfiltered sadness, frustration, and depression through the discourse. However, although this character-driven drama of generational anguish and rage is aided by the film's slice-of-life narrative approach rather than a structured premise, it doesn't have the necessary character layers for the audience to relate on a deeper level. KATIE Through the juxtaposition of two sisters’ lives, Mike Leigh’s Hard Truths presents a heartbreaking portrait of what clinical depression can look like as it seeps into every aspect of one's life, yet not without flashes of the director’s darkly comedic wit. Marianne Jean-Baptiste’s performance as Pansy is simply ferocious. She spits venom at those closest to her and seethes with unforgiving misery and an unabating sense of agitation, but also a heartbreaking awareness that she is struggling deeply and has been for a long time. The film doesn’t provide a satisfying resolution, but the stellar performances speak for themselves. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE MAGIC FARAWAY TREE Starring: Andrew Garfield, Claire Foy, Nonso Anozie, Billie Gadsdon, Phoenix Laroche, Delilah Bennett-Cardy, Nicola Coughlan, and Rebecca Ferguson Director: Ben Gregor AMARÚ Andrew Garfield is such a charming actor, and kicking off The Magic Faraway Tree with his wondrous charisma gets you invested in the whimsical family adventure to come. The magic of imagination is on high display, creating some cool, fantastical lands and teaching impactful lessons about family and connection. There’s plenty of silliness to go around, so if that’s not for you, then neither is this film; however, the entire cast is all-in on the fun and fantasy, making for a heartfelt film for all ages to enjoy. Faraway Tree is a cute watch that I’d gladly show to the little one in my life. ROBERT The template for the ideal film is fluid, dependent on the genre it occupies. I think of the family films I grew up with, and those that resonated had a layer of darkness wedged in between the lighter themes. The Magic Faraway Tree lives in a land of blissful wonder, which may be fun for some but is rather goofy for me. I couldn’t help looking at Andrew Garfield, Claire Foy, and especially Rebecca Ferguson and thinking that it was a waste of their talents and charisma. The message of “kids should use their imaginations more” wasn’t conveyed uniquely enough to not seem trite and, frankly, wooden.

FROM THE WORLD OF JOHN WICK: BALLERINA Starring: Ana de Armas, Gabriel Byrne, Anjelica Huston, Ian McShane, Norman Reedus, Keanu Reeves, and Lance Reddick Director: Len Wiseman NICK From the World of John Wick ... Ah yes, the world of John Wick , where a stab wound is just a minor inconvenience. Jokes aside, this film is exactly what you'd hope it to be. Ana de Armas fits right into the lead role as she shows off her ass-kicking chops, while Chad Stahelski's fingerprints are all over the innovative action set pieces (some of which are among the best in the franchise). Although Eve's (de Armas) origin story goes a touch too long, she grows to cement herself as another character more than capable of carrying this franchise post-Keanu Reeves. ADRIANO Aside from the magnum opus that is John Wick: Chapter 4 , Ballerina (the full name is dumb) is about as good as any film in this franchise. You may say the story is generic, but I'd argue it builds the universe further, diving into the indoctrinating factor of this assassin world. And the action is pure John Wick . It's obvious that series overseer Chad Stahelski had some hand in the reshoots (Keanu Reeves is just here for the trailers), but when Ana de Armas is shooting down an army of henchmen, I don't care when it was shot in the schedule. So, as a franchise fan, I'm satisfied. AMARÚ There’s a self-aware grandiosity that the John Wick franchise pokes fun at that makes it work so well with its bloody violence, and Ballerina ’s second and third acts find a groove to capture that familiar tongue-in-cheek sensibility. I’m glad it did too, because way too often, both the movie and Ana de Armas take themselves much too seriously. The shallow revenge plot and cliché drama have no personality to start, doing de Armas no favors in helping us connect with her character. But luckily, some familiar faces and standout action pulled me back every time I felt myself losing interest. BODE The last time the John Wick franchise spun-off from its titular character’s hellish journey, it was in the form of a not-very-beloved prequel miniseries (The Continental ). So, what about Ballerina ? Well, the good news is that there’s enough in this interquel (particularly in Ana de Armas and its fun action sequences) to keep it watchable, especially in the (Chad Stahelski-reshot) second half. The bad news is that it often feels like a lesser version of a Wick movie due to its by-the-numbers revenge plot and lack of operatic energy. That said, if you’re not asking for a lot, you’ll be satisfied. QUENTIN For all the talk of superhero fatigue, how come no one is mentioning John Wick fatigue? If you love this franchise, Ballerina is more of the same: neon-soaked fisticuffs rooted in frenzied gunfire and well-choreographed knife-play against waves of faceless henchmen. If that is all you want, it delivers. However, if you want character development, a formidable villain, compelling performances, or an engaging story, it would be better to look elsewhere. Ultimately, this is every female-driven Wick ripoff — Atomic Blonde , Kate , and Jolt all come to mind — except it has official Wick branding. For some, that will be enough. For me, flamethrower fight aside… shrug. KATIE I was disappointed by Ballerina . Aside from some very strong action scenes, it's stitched together with dull dialogue, flat performances, and weak character development that should have just been omitted entirely. It begins with a cliché backstory that goes on for too long, and I’d rather it didn’t even attempt to tell emotional backstories if they’re going to be this insubstantial. Ana de Armas is good in the leading role, but her performance doesn’t stand out, and her character is built on the fact that she’s… a girl?! Unfortunately, Ballerina doesn’t add to the franchise, but relies heavily on it.

DON'T LOOK UP Starring: Leonardo DiCaprio, Jennifer Lawrence, Rob Morgan, Jonah Hill, Meryl Streep, Cate Blanchett, Tyler Perry, Mark Rylance, Timothée Chalamet, Himesh Patel, Melanie Lynskey, Ron Perlman, Ariana Grande, and Scott Mescudi Director: Adam McKay PAIGE Director Adam McKay's latest film, Don’t Look Up , is a political satire that speaks volumes to today’s society and media outlets. It’s kinda scary just how true to life some of the behavior is portrayed in this film. It’s a brutally dark comedy with a star-studded cast that gives soaring performances, but the overall story crashed for me. Some odd editing choices and a runtime that is truly to the film’s detriment stopped the movie from being as good as it should have been. That said, while it’s not always smooth sailing, there is more here to like than not. ADRIANO Don’t Look Up is a fun, yet very sickening movie (in a good way). As a fan of writer/director Adam McKay, this is undoubtedly his best film, as it perfectly blends his comedic and dramatic sensibilities. Overall, it lacks subtlety, but for a film subject with this much urgency, I’m able to let that slide. The cast is one for the ages, with Leonardo DiCaprio and Mark Rylance standing out, and as funny as the film is, the final act is both powerful and effective in its execution. It’s the rare film where it’s important that everyone sees it. JACOB Not quite as accomplished as The Big Short , but less condescending than Vice , writer/director Adam McKay’s Don’t Look Up lands somewhere between the two, quality-wise. Its first act is fairly messy, marred by some bizarre editing choices, but eventually it settles into the story at hand. What ultimately keeps it from soaring is that it works much better as a doomsday horror than as a comedy, but keeps skirting the former to focus on the latter…and it’s rather unsubtle about it. There are funny moments and the performances are good, but it’s the film’s terrifying finale that shines. QUENTIN Some satires require separation from the events being skewered and a certain level of viewer ignorance to really work. Otherwise, you lose the revelatory absurdity driving the humor. Don’t Look Up is one such satire. That’s not to say it’s a bad movie. It features great performances and is generally enjoyable despite several unnecessary subplots, some jarring edits, and an overlong runtime. However, the jokes are so true-to-life that they aren’t particularly witty. It simply can’t match the tomfuckery of what has actually been happening the past few years, which mostly results in the opposite of “funny because it’s true.”

A HAUNTING IN VENICE Starring: Kenneth Branagh, Tina Fey, Michelle Yeoh, Jamie Dornan, Kelly Reilly, Camille Cottin, and Jude Hill Director: Kenneth Branagh AMARÚ A Haunting in Venice really misses the fun that Kenneth Branagh usually has in his outings as Hercule Poirot. Instead, it leans heavily on horror elements that, while well crafted, create a disorienting effect on the pacing, editing, and acting. The resulting unevenness continuously took me out of the story every time glimpses of the old Poirot pulled me in. Luckily, Branagh slowly returns to form as the film progresses, and along with a standout performance from young Jude Hill, he reminded me just enough why I’ll always watch these Agatha Christie murder mystery adaptations. KATIE This latest Poirot mystery is the best of Kenneth Branagh’s lavish Agatha Christie adaptations. Injected with a dose of gothic horror, the film is wonderfully extravagant, melodramatic, and gorgeous to look at. Branagh draws inspiration from classic cinema, using tried and tested techniques to create an old-fashioned yet very well-crafted and entertaining film. The cast is fantastic, with notable performances from the scene-stealing Michelle Yeoh as the famous medium Joyce Reynolds and Jude Hill as the unsettling young boy, Leopold Ferrier. The film is perfect, if tame, viewing for the coming Halloween season: fun, silly, and spooky without ever being scary. QUENTIN While I admit that Kenneth Branagh’s Hercule Poirot series is formulaic and, overall, nothing special, it still makes for an entertaining murder mystery diversion. In A Haunting in Venice , which is better than Death on the Nile yet nowhere near as good as Murder on the Orient Express , Branagh adds just enough of a horror spin to create a fresh take on a tired genre. Is it perfect? Of course not – it’s a little slow, quasi-predictable, a tad convoluted, and Tina Fey is miscast. That said, it’s an enjoyable enough Agatha Christie adaptation, even if it is disposable. CALEB If you’re already in the Halloween spirit, A Haunting in Venice should be right up your alley. Director Kenneth Branagh returns with another Hercule Poirot mystery, this time adding a welcome touch of horror to the mix. Branagh himself is as entertaining as ever, but his co-star Tina Fey gives an uncharacteristically bland performance. Some of the jump-scares felt a little tacked on, but the stellar cinematography and production design created an atmosphere spooky enough to satisfy my horror cravings. Murder mystery veterans might find the narrative a tad predictable, but the film is still plenty charming regardless. PHILL Back in a starring and directorial role, Kenneth Branagh’s ever-charming and delightful Hercule Poirot returns in a much darker and drearier setting, just in time for Halloween season. Blending nostalgic murder mystery with spectral horror, A Haunting in Venice is still through and through a definitive Hercule Poirot whodunnit at its heart, but Branagh’s flair for Dutch angles and warped cinematography certainly adds to the eerie, unsettled nature of the film. Branagh’s performance excels alongside those of Michelle Yeoh and Jude Hill, both of whom standout from the mixed pack of the supporting cast. PRESTON Kenneth Branagh’s A Haunting in Venice is appropriately set in mid-20th century Venice, with all of its mysterious old-world charm and, assuredly, the setting of enough tumultuous events to make one question if there isn’t some eerie spectral force at work. The idiosyncratic, angular, and in-your-face camerawork adds to the suspense and intensifies its actor-focused narrative. Unfortunately, the production takes its toned-down approach a bit too far, and it makes much of the voyage feel like a slog. In the end, we are graciously rewarded for our toil with a conclusion that has all the investigatory panache of its sleuth champion.

DAYDREAMERS Starring: Tran Ngoc Vang, Thuan Nguyen, Chi Pu, and Trinh Thao Director: Timothy Linh Bui KATIE Daydreamers is a refreshingly bold, stylish take on the vampire genre. It uses the loneliness and angst of vampirism to explore the protagonist Nhat’s (Trang Ngoc Vang) struggle to find a sense of belonging and freedom, blending rural aesthetics with the urban neon-lit city. The CGI effects are the film's weakest aspect, but that doesn’t overshadow the stylish cinematography, vibrant colours, gorgeous lighting, and fantastic performances. At times, it almost looks like a pastiche of 1960s technicolour melodrama. I don’t think I’ve seen any Vietnamese films, but Daydreamers has inspired me to seek them out. NICK Although Daydreamers isn’t going to be the vampire film people are most talking about this month, it’s not without its charms. The biggest charm being the vibrancy of the dynamic colour palette, which really gives the film a style that stands out. Besides its appearance, however, there’s just not much here. The effects are subpar while the story (though conceptually interesting) struggles to stay engaging. The latter especially is a shame because it's a take on vampires we haven’t really seen before. Unfortunately, the poor story structure, as well as the dialogue heavy subtitles, hindered my ability to fully get sucked into this world.

DRACULA Starring: Caleb Landry Jones, Christoph Waltz, Zoë Bleu, Guillaume de Tonquédec, Matilda De Angelis, and Ewens Abid Director: Luc Besson KATIE Dracula is an irresistibly overdone treat. It’s visually stunning, full of rich, detailed, and lavish costuming and set design, as well as gorgeous cinematography. It’s theatrical in the best way, especially some very entertaining dance set pieces. Some aspects of the story are ridiculously silly, but this lends itself to the grandiose tone and unashamedly romantic take on the tale. It focuses on Dracula’s tragic love story, framing him as an empathetic, tortured soul, but it still has some moments of bloody horror. Caleb Landry Jones is enthralling in the leading role, even considering his hammy, vaguely Eastern European accent. ADRIANO If you’re going to tell a story that’s been told to death already, the very least you can do is introduce an engaging angle, either narratively or stylistically. There’s some of that in writer/director Luc Besson’s Dracula , but it’s all minimal and results in the same ideas of past incarnations. Beyond that, the filmmaking and writing are awkward, and the editing is choppy to the point of barely anything being comprehensible. It’s not all horrid; the production of the film itself is lavish enough to hold attention, but it’s a struggle to get through otherwise. PAIGE Luc Besson’s Dracula could not hold my attention in the slightest. Tonally, the film is all over the place, the pacing drags, the visuals are dingy and dull, and the editing is outright atrocious. The story doesn’t offer anything new to the lore of the famous vampire and seems unsure what type of movie it wants to be. To be frank, it felt like the poor man’s version of Francis Ford Coppola’s Bram Stoker's Dracula . Even the phenomenal Christoph Waltz could not save this movie from being a complete snooze fest.

IT WAS JUST AN ACCIDENT Starring: Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, and Mohamad Ali Elyasmehr Director: Jafar Panahi QUENTIN Tonally, It Was Just an Accident is unexpected. Generally speaking, it has tension without being tense and humor without being funny, but director Jafar Panahi’s ability to walk that tightrope is a major reason why the film works as well as it does. Make no mistake, the commentary on authoritarianism, which is as applicable to the Iranian regime as it is to current American politics, is morally complex and thought provoking as it explores the cycle of revenge and violence between oppressors and the oppressed. But that tonal balance keeps it accessible by not letting it slip too far into darkness. It’s a worthy Palme d’Or winner. ADRIANO There's something very fascinating when you walk out of a movie not sure how to talk about it, yet you know that you just watched something extraordinary. Writer/director Jafar Panahi's Palme d'Or winner It Was Just an Accident is structured like a comedy of errors, yet it's a haunting and wonderfully acted reflection of the scars left on the victims of Iran's government. Its morally interesting plot questions humanity's ability for cruelty in an unjust society, and if you don't leave the film staggered by its final 20 minutes, I'll be impressed. AMARÚ As I was watching It Was Just An Accident unfold, I couldn’t decipher if it was meant to be a tragic drama or a dark-as-hell comedy of errors. Whatever the purpose, I was fully engrossed with the thrilling mystery. As the titular accident snowballs into continuing unfathomable circumstances as it brings each new character into the fold, director Jafar Panahi somehow balances intense political atrocities with cathartic releases of uncomfortable humor. I’ve never experienced anything quite like it, and when the credits rolled, I was exclaiming emotions I won’t spoil for when you watch. Please find a way to watch this wholly human thriller. This film was reviewed by Adriano and Quentin as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival and the 2025 International FilmFestival Mannheim-Heidelberg, respectively.

ROSEMEAD Starring: Lucy Liu, Lawrence Shou, Orion Lee, Jennifer Lim, Madison Hu, and James Chen Director: Eric Lin AMARÚ I’ve never experienced a movie tackling its issues in the way Rosemead does. There’s a quiet intensity built on love and understanding that helps build a realistic urgency when the film’s conflicts get more serious. There’s no sensationalization or hyperbolic emphasis on Joe’s (Lawrence Shou) mental health battle, just a compassionate relationship between him and his mother (a tremendous Lucy Liu). I had no idea where this movie was going to go, or how it was going to end, and it made me appreciate the story, characters, writing, and performances that much more for its deep, complicated, humanistic approach. KATIE Rosemead presents an unflinching look at the lives of Irene, played by the incredible Lucy Liu, and her 17-year-old son Joe (Lawrence Shou). Amid worsening mental illness, a cancer diagnosis, and inconceivable grief, I didn’t find it sad so much as depressingly bleak. However, the film engages empathetically with Joe’s struggles and the circumstances that can lead someone to commit acts of unthinkable violence, and it doesn’t assign blame or justify anyone’s actions. Instead, it explores Irene and Joe’s moving relationship and how their community’s perception of mental illness impacts them. ADRIANO Nothing about Rosemead’s presentation did anything for me, almost to a fault, outside of Lucy Liu’s mesmerizing performance. Yet, I find myself reflecting on the substance it provides as it refuses to give an easy answer to some ideas that are simply too tough. It lags way too often in the process, but it’s emotionally gripping and devastating in its portrayal of mental health and the way that contributes to violence. Melodramatic? Maybe. But it’s a worthwhile (if not difficult to watch) experience, and any film that leaves even the smallest impact is a success, and this left a solid impact.

CRIME 101 Starring: Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Monica Barbaro, Corey Hawkins, and Nick Nolte Director: Bart Layton ADRIANO A send-up to Michael Mann that actually seems to be learning the right lessons from him? Well, I’ll be damned. Crime 101 far surpassed my expectations, despite it being longer than it should have been, thanks in part to a romance plot that could’ve been scrapped. But in general, it’s well-shot and paced as an exhilarating crime movie. What impressed me most was all of these storylines, which could’ve been too much for one film, ultimately coming together in grand fashion. I could use more original and effective character-driven heist films like this more often. NICK In his first fully fictional feature, director Bart Layton brings us a type of film we don't really get much anymore. Evoking memories of prime Michael Mann films, this is a no nonsense, star-studded heist film that never goes too big. There are moments of tense action, sure, but they’re calculated and within a grounded character examination. Chris Hemsworth suitably steps into the lead role, supported by the likes of Halle Berry, Mark Ruffalo, and Barry Keoghan (not to mention Monica Barbaro, Corey Hawkins, and a well-cast Nick Nolte), but it’s the slick stylings of this film that leave the most lasting impression. AMARÚ 30 minutes into Crime 101 , a Run The Jewels track starts playing and confirmed my feelings up to that point. Just as RTJ are all-caps RAPPERS, writer/director Bart Layton’s homage to peak 90s crime thrillers is an all-caps MOVIE. Layton’s gritty camera work lays the foundation, Blanck Mass’ intense score sets the tone, and Chris Hemsworth’s against-type, contained vulnerability engrosses you in this briskly paced, two-plus hour, absolute banger. I thought it impossible to believably make Hemsworth awkward, call Halle Berry “too old”, or proclaim a heist film worthy of phrases like “shades of Heat ”, but Crime 101 did a helluva job proving otherwise. BODE There’s no way to talk about Crime 101 without addressing the most obvious point about it: writer-director Bart Layton very clearly loves Michael Mann. Why else would you make a heist film set in Los Angeles if you weren’t aiming to pay homage to Heat in some way, shape, or form? For what it’s worth, the British documentarian is pretty successful in pulling it off, with all the style, muscle and grounded character development that comes with this sort of thing. Add in a star-studded cast (all doing solid work), and you’ve got a pleasantly solid surprise.

PUSS IN BOOTS: THE LAST WISH Starring: Antonio Banderas, Salma Hayek, Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da’Vine Joy Randolph, and Anthony Mendez Directors: Joel Crawford and Januel Mercado JOSEPH The Last Wish has everything. It’s stunning to watch, effortlessly funny, and smartly written. Plain and simple, it is top-tier filmmaking and one of the best films of the year. I could not contain my joy while watching, and I was absolutely mesmerized by the gorgeous visuals. The Last Wish shows how films with families and children in mind do not have to be dumbed down or avoid complex issues to be successful, and I hope it sends a signal to studios to continue pushing the boundaries of visual storytelling. AMARÚ DreamWorks Animation always seems to be an afterthought to Disney and Pixar, and movies like The Last Wish are constant reminders why they shouldn’t be. Not only is this sequel’s dual animation style impressive, but so are the adult themes that could make the “wisest” of us appreciate the one life we have. Kids will love the family-friendly shenanigans that Puss (Antonio Banderas) embarks on, adults will love the intelligent references and anime-style action, and ALL moviegoers will appreciate how well crafted the drama, comedy, and horror (yes, horror) are blended in this end-of-year surprise hit. QUENTIN As I get older, I’ve found that most animated movies aren’t for me. The messages for today’s youth either don’t resonate with my own childhood, or, generally speaking, they are too kid-centric, focused more on selling toys than telling a good story. The Last Wish is a rare exception. While it maintains Shrek ’s winning brand of referential humor, it’s also surprisingly dark, featuring hints of adult fare like Logan and Snatch . Themes of mortality and family are approached with remarkable maturity, and The Big Bad Wolf (Wagner Moura) is an absolute scene-stealer of a villain. Overall, it’s a beautifully animated surprise for cynical (and childless) adults. ADRIANO Never in my wildest imagination would I have ever thought I would be writing this, but The Last Wish is one of the year's best movies. The animation is striking and the film’s adventure is a lot of fun, but what really got me was the emotional core of it all. For a film targeted towards families, this film has stuff to say about mortality and the way we use the time we have on this planet. I didn’t expect a Shrek spinoff to make me feel the things this movie made me feel. JACOB Like Shrek 2 before it, The Last Wish takes everything that worked about its predecessor and turns it up a notch. Unlike Shrek 2 , however, its predecessor is not an undisputed classic, so there’s no debate about which is the series’ better movie (it’s this one). With stylistic animation clearly inspired by Into the Spider-Verse , a genuinely heartfelt story in which almost no characters are one-dimensional, and maybe one of the year’s outright best villains, The Last Wish is a genuinely great time making a late-breaking push as the dark horse for Best Animated Feature.