ONE BATTLE AFTER ANOTHER Starring: Leonardo DiCaprio, Teyana Taylor, Sean Penn, Chase Infiniti, Benicio Del Toro and Regina Hall Director: Paul Thomas Anderson NICK It’s crazy to think that after 25+ films at TIFF, I’d see the best film of the year the day after TIFF ended, but that’s exactly what happened. One Battle After Another is sensational. A film that comes to us at exactly the right time, this look at the role of revolutionaries in present day America is both harrowing and supremely entertaining. The cast is firing on all cylinders, the script is airtight, it’s funny, it’s tense, it’s exciting, it’s agitating, it’s mesmerizing… Needless to say, I’m impressed. This is why people have the reverence they do for director Paul Thomas Anderson. QUENTIN One Battle After Another is a good movie. How could it not be? Paul Thomas Anderson’s direction is terrific, generating tension, excitement, and laughter through tremendous performances from all involved, especially an Oscar-worthy Sean Penn. Plus, it holds a very timely mirror up to American society. All wins. BUT, in typical PTA fashion, it’s extremely overwritten at nearly three hours. Certain moments and characters are simply unnecessary, and those diversions steal time from the somewhat underdeveloped father-daughter dynamic at the story’s core. Still, it’s PTA's best movie since Boogie Nights , but I also checked my watch a few times — not the mark of a great movie. ADRIANO It takes time after a release to seriously take in a film's magnitude, but I couldn't help but feel that I watched a decade-defining masterpiece in One Battle After Another . Not just because it's timely to the current political paradigm, but also because its theme of how the fight never ends feels so timeless. With its politics blending with a strong familial storyline, Paul Thomas Anderson's latest soars even higher with its propulsive editing, hilarious writing, and enthralling genre thrills. I probably still have plenty to uncover about this, but it's an experience that's easy to be floored by. ROBERT I am not the biggest Paul Thomas Anderson fan; I have seen half of his filmography and enjoyed everything I’ve seen, but haven’t sought out the rest. This connects similarly to how I felt about Darren Aronofsky’s Caught Stealing : it played in a sandbox I prefer cinematically. Given the action, dialogue, and superb character interplay, the best word to describe One Battle After Another is kinetic: even when you aren’t physically moving in the plot, you feel as if you aren’t stagnant. Despite its homages to classic action and war films, it is fresh and distinct, and Leonardo DiCaprio and Benicio del Toro are comedy legends together…more of that please! PAIGE As someone who isn’t the biggest Paul Thomas Anderson fan, I must admit that One Battle After Another drew me in from beginning to end. It’s a nonstop trip featuring high-strung action, top-notch performances from everyone involved, and a compelling father-daughter tale at its core. With that said, though, my biggest criticism is that with its promising subject matter, the tension should have been felt alongside the humor. I simply didn't feel the emotional stakes like I thought I would. Nevertheless, it's unquestionably PTA's most accessible movie to date, bursting with energy and style that will have audiences walking out chanting VIVA LA REVOLUCIÓN! AMARÚ The world might’ve had an idea who Teyana Taylor was before One Battle After Another , but now the world knows , as did Paul Thomas Anderson who knew that opening with and modeling his film’s tone after her was the smartest move possible. Both actress and movie are no filter, no bullshit, all power and presence, creating an entertaining, funny, thoughtful, and bold statement of a film. Every performance is pitch perfect, the score is quirky and kinetic, and PTA’s direction is dynamic as hell. There’s only one other theater experience like this in 2025 (Sinners ), and being in that company makes for the highest praise. BODE How surreal is it to hear Sheck Wes in a Paul Thomas Anderson movie? Very, but in the best way. That aside, it’s refreshing to see PTA apply his tricks to a modern setting again - one that sharply holds a mirror up to our terrifying society today - but on a bigger scope than usual. While I personally wouldn’t call One Battle After Another PTA’s magnum opus (for now, anyway), there’s still a lot to love about it. The performances are indelible, the setpieces are as exciting as you’ve heard, and Jonny Greenwood’s percussion-driven score is another cap in his career. Yeah, it’s great! Want to hear even more of our thoughts? Nick and Amarú join Matt to take A Bigger Bite out of One Battle After Another HERE .

THE HOUSEMAID Starring: Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Indiana Elle, Michele Morrone, and Elizabeth Perkins Director: Paul Feig NICK Regardless of your thoughts on his films, Paul Feig always aims for you to have fun with them. With The Housemaid , he forgot about that entirely. Led by a Sydney Sweeney performance that will make her detractors salivate, this is a complete misfire. Beyond Sweeney's poor outing, though, the film is filled with inconsistencies in both plot and tone, feels relatively devoid of intentional humour (unintentional is a different story), and is far too long. Had Feig infused camp and laughs into this outlandish plot, there may have been something to salvage here, but as is, he’s made one of the worst films of 2025. AMARÚ The Housemaid is a 25-minute cut away from being the biggest surprise of the year. Excellent performances from Brandon Sklenar and Amanda Seyfried help deliver on the scandalous mess that Paul Feig (sometimes) knows how to entertainingly direct. The story, twists, and reveals are a fun time to unveil, but its execution, especially its polarizing pacing, has you wishing for more time to breathe one second, and asking, “Why is this movie still going?” the other. A rushed introduction of stakes, dragged-out resolutions, and misuse of narration (both in delivery and timeliness) inhibit a much better movie from revealing itself. ADRIANO At the final stretch of 2025, The Housemaid comes one somewhat interesting plot twist away from topping The Electric State as the year's worst film. At the risk of sounding dramatic, just about everything about this movie doesn't work. The tone is all over the place, going from psychological terror to YA romance in the blink of an eye, the dialogue is atrocious; that interesting plot twist I referred to was underbaked, and Sydney Sweeney gives a fittingly terrible performance for the terrible year she's had. Sure, Amanda Seyfried's fine, but she can't do anything to elevate this laughable monstrosity. BODE When Paul Feig took a tawdry turn with 2018’s A Simple Favor , it felt like a needed breath of fresh air for the filmmaker after stumbling years prior with his Ghostbusters reboot. But he’s struggled to match the darkly comedic highs of that film since, first with Another Simple Favor , and now with The Housemaid . Although there’s some entertainment to be found (largely thanks to Amanda Seyfried’s keyed-in performance), it takes far too long to lean into all sense of bad taste, and isn’t fun or trashy enough to make a lasting impression even when it does. Fairly disappointing.

MOANA 2 Starring: Auli’i Cravalho, Dwayne Johnson, Hualālai Chung, Rose Matafeo, David Fane, Khaleesi Lambert-Tsuda, Temuera Morrison, Nicole Scherzinger, Alan Tudyk, and Rachel House Directors: Jason Hand, David G. Derrick Jr., and Dana Ledoux Miller AMARÚ Moana 2 is more than just a solid follow up to one of Disney’s best 21st century original animated features, it’s a natural continuation to one of their best hero’s story. With more heart than the first, if that’s even possible, this sequel keeps its themes rooted in family and culture, making even the most trope-ish of Disney plotlines emotional, funny, and magical. The story is pretty straightforward, with curses, omens, and signs we’ve all seen before, but the delightful new characters, especially “Lil Sis” Simea (Khaleesi Lambert-Tsuda), great new music, and sincere themes make for a beautiful time for all to enjoy. ADRIANO Moana 2 is a fascinating one. Not because it's amazing or because it's awful, but because it's neither. It is just so aggressively nothing. This film was supposed to be a Disney+ series that was re-edited into a movie, and it shows since so much of the story and character development were seemingly left on the editing room floor. The adventure plot is serviceable enough, and Auli'i Cravalho and Dwayne Johnson are great once again, but aside from Moana (Cravalho), none of the characters are given emotional weight. Plus, I couldn't hum any of the songs right now for the life of me. It's just so forgettable.

NIGHT PATROL Starring: RJ Cyler, Justin Long, Jermaine Fowler, Phil Brooks, Dermot Mulroney, Nicki Micheaux, Freddie Gibbs, YG, and Flying Lotus Director: Ryan Prows AMARÚ Night Patrol would’ve been thrilling if it wasn’t so silly, and it would’ve been fun if it wasn’t so serious. RJ Cyler, yet again, proves that he’s one of today’s most underrated actors, Justin Long and Jermaine Fowler are dedicated in dramatic against-type roles, and even Phil Brooks (aka CM Punk) is cast well. However, a ridiculous script, unserious dialogue, and outlandish stereotypes made the plot reveals almost imperceptible amongst the laughably bad throwaway lines. The creators thought they were being provocative, but spectacularly and offensively failed. They should’ve followed Freddie Gibbs’, YG's, and Flying Lotus’s lead, all of whom knew the campy film they were really in. ROBERT I will say this for Night Patrol : it is a movie that is hard to peg down since it has elements of End of Watch mixed with The Devil’s Advocate and low-rent Sinners . Those aren’t bad films to emulate, but when you throw the whole refrigerator of leftovers in the stew, it might not gel into something digestible. That is this movie. It is too goofy to make sense of its messaging, and too derivative of recent horror efforts to either pay real homage or pull off a suitable copy. My bewilderment over trying to understand Night Patrol almost left me exsanguinated.

HIPPO Starring: Kimball Farley, Lilla Kizlinger, Eliza Roberts, Jesse Pimentel, and Eric Roberts Director: Mark H. Rapaport This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2023 Fantasia International Film Festival. NICK Hippo is a great example of why sex education still needs to be taught in schools. This absurd film about the naivety of sex - and, really, adult life - for adolescents Hippo (Kimball Farley) and Buttercup (Lilla Kizlinger) is... something. Although the pace moves well enough thanks to narration provided by Eric Roberts, the characters are quite unlikable, and the narcissistic and disillusioned Hippo is the worst offender. I will say, the notion of step-sibling infatuation is handled respectfully by director Mark H. Rapaport, and without getting into spoilers, it’s that story thread that is the most interesting. I just wish things came to a different conclusion. QUENTIN Hippo is a weird one, and while I’m not entirely sure I liked it, there are certainly parts I didn’t hate. A scene here would make me laugh, a one-liner there was immediately entered into my memory bank… but, given the subject matter, it’s so odd and potentially off-putting that recommending it is a tricky endeavor. Plus, Hippo (Kimball Farley) is extremely unlikable as a character, playing the role like Napoleon Dynamite with Kenny Powers attitude, which makes sense once you realize Danny McBride and Jody Hill, who created Eastbound and Down , are executive producers on the film. Overall, Hippo is unsettling and extreme acquired taste.

MY FATHER'S SHADOW Starring: Sopé Dìrísù, Godwin Egbo, and Chibuike Marvellous Egbo Director: Akinola Davies Jr. ADRIANO Operating on a similar logic to Aftersun, My Father's Shadow's depiction of Lagos in 1993 under political turmoil, as well as fatherhood through the unaware eyes of children, is a memorable and even heartbreaking examination. Director/co-writer Akinola Davies Jr.'s direction is precise but, by design, rusty. Our perspective is through the kids, so the limited information enhances the beauty and horror of the plot. Sopé Dìrísù's performance blends masculinity with tenderness perfectly, and the child performances from Chibuike Marvellous Egbo and Godwin Egbo are great as well. By the end, it made me cry and reflect, the hallmark of a job well done. AMARÚ My Father’s Shadow is a strong feature debut for director Akinola Davies Jr. It’s powerful in its messaging of fatherhood, brotherhood, and sacrifice, with a grittiness to Davies’ camera work that brings a gripping authenticity, all anchored by Sopé Dìrísù’s vulnerable performance. There’s a scene between father and son that is so raw and real that it will stay with me for a long time. These deeply felt themes of family, community, and legacy help stave off small instances of stagnancy, and help bolster hope in the midst of unjust tyranny. This one hits at your heart’s core. BODE With My Father’s Shadow , director Akinola Davies Jr. and co-writer Wale Davies pull from their childhoods to explore multi-generational masculinity against the social unrest that surrounded Nigeria in 1993. It’s an examination that manages to somehow feel simultaneously epic and intimate. The personal, the political, the dreamlike, and the realistic hazily blend together in lovely and heartbreaking ways that nearly had me tearing up at various points (especially as someone of Nigerian heritage). It certainly helps that Sopé Dìrísù is excellent as the titular father, and the score from composers Duval Timothy and CJ Mirra is soul-stirring. A remarkable directorial feature debut. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2025 Toronto International Film Festival.

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.

YOUNG WERTHER Starring: Douglas Booth, Alison Pill, Iris Apatow, and Patrick J. Adams Director: José Avelino Gilles Corbett Lourenço ADRIANO Young Werther begins pretty basic. The direction is flat and the plot progresses in a fairly familiar way to most rom-coms, only this time with an unlikeable lead. But then, the movie shifts its tone to become more mature. The performances of Douglas Booth and Alison Pill kick up a notch too. I began to appreciate it for its honest and often funny portrayal of modern romance, leaning into the flaws and insecurities of its characters as it approached a satisfying third act. I didn't expect to relate to this film in the way I did. PAIGE Young Werther started out as a cute and witty romantic comedy with a charming ensemble, but as it went on, it became increasingly insufferable. Unfortunately, this wannabe Wes Anderson film treads into the familiar territory we often see with these modern adaptations. The movie struggles to fully flesh out its themes, but I will give it credit for having the most suitable ending for its plot. Overall, it's just a blah movie to throw on in the background while you're doing other things, though I'd be lying if I said it didn't have some mildly endearing moments. PRESTON We all have (or have had) that one friend who pushes your buttons, but you love them anyway. They can push you to the edge of complete exasperation, but their certain “je ne sais quoi” keeps them in your sphere and, ultimately, charmed. Young Werther mimics this emotionally teeter-tottering arc not only as a film, but reflected through its titular protagonist (Douglas Booth). Each time I thought I might write it off as annoying, I was tentatively enchanted once more. Based on a Von Goethe literary classic, you could do much worse in the rom-com film space. KATIE Unfortunately, I didn’t find Werther (Douglas Booth) as charming as he and everyone else in the film did. The modern update of this literary classic is strained, and I thought his actions were creepy as opposed to romantic. The dialogue reaches for quirky and offbeat but is instead almost insufferable. Werther comes across as exhausting to be around, and the romance between him and Charlotte (Alison Pill) is not convincing, so I found myself rooting for his love rival to teach him a lesson. My standards for a decent romantic comedy are not particularly high, but Young Werther still didn’t hit the mark for me. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

CREED III Starring: Michael B. Jordan, Jonathan Majors, Tessa Thompson, Wood Harris, Phylicia Rashad, and Mila Davis-Kent Director: Michael B. Jordan JACOB Although there are elements of Creed III that prevent it from rising to its ultimate potential (chiefly, no Sylvester Stallone and a dire lack of composer Ludwig Göransson’s signature themes), it nonetheless proves a promising debut for director Michael B. Jordan. The actor-turned-filmmaker takes some bold swings stylistically, especially for such a large IP, and while not all of them work, the passion is clearly there. The film’s strengths are where they should be – in the performances of its two dynamic leads and well-choreographed fight sequences – but its single greatest asset might actually be the heartwarming family element. AMARÚ Creed III has so much more than 100 words can cover: trauma, emotion, tension, action, and perfect needle drops. It’s an equally powerful, poignant, and entertaining film. Star Michael B. Jordan makes a helluva directorial debut, with the film looking beautiful while feeling personal, and Jonathan Majors continues to prove that he’s going to be one of the all-time greats. Their brotherly relationship feels authentically lived in, deeply touching on the black male experience, and it’s exquisitely juxtaposed with the father-daughter relationship between Adonis and Amara (Jordan and Mila Davis-Kent, respectively). Creed III delivers more than just boxing, brilliantly establishing Creed as a top-tier trilogy. DARRYL Creed III proves to be not just one of the best movies in the overall Rocky franchise, but one of the best sports movies in general. While there are flaws to be found in his work, Michael B. Jordan's freshman directorial outing is a solid hit, delivering a compelling film with boxing scenes that will satisfy even the most hardened fans of the sweet science. The dynamic set pieces aren't enough to distract from the script's clunkier emotional scenes, but there's still much to love in this spectacular third outing. A great way to kick off the oncoming onslaught of summer blockbusters, Creed III is guaranteed to have the audience fully invested. QUENTIN While Creed III is quite good, boasting another star-making turn from Jonathan Majors and an impressive directorial debut from Michael B. Jordan (especially the dynamic in-ring sequences), the truth is you can only escape the genre formula so much. By not being able to truly break away from typical tropes, the film is simply too predictable. That said, my only real complaint is that the film feels rushed. I can’t believe I’m saying this, but it could have used another 30-40 minutes to flesh some things out. I also admit I missed Sylvester Stallone, whose absence is given no explanation, but that’s on me. ADRIANO The Creed franchise continues its theme of creating your own legacy with Creed III , which ironically enough, cements the series with a legacy of its own. Other than passing mentions of Rocky and Apollo, this film stands completely on its own, and Michael B. Jordan’s stunning debut direction gives the franchise a fresh identity. It’s not the most unique story you’ll ever see, but the stakes feel personal and you truly feel like you’re seeing a man evolve. When it comes to good storytelling, there’s not much more I can ask for.

DISCLOSURE DAY Starring: Josh O’Connor, Emily Blunt, Colman Domingo, Colin Firth, Eve Hewson, Wyatt Russell, Henry Lloyd-Hughes, and Elizabeth Marvel Director: Steven Spielberg NICK Every Steven Spielberg directed film is going to have hype, but more so when he returns to the world of sci-fi. Yet, Disclosure Day still managed to exceed my expectations. Unlike his previous alien-centric films, the focus here is humanity and its ability to handle the knowledge of life on other planets. It's an idea often explored through religion, and it’s captivating. The chase elements (featuring dynamic camerawork) are thrilling, the performances are top-notch, and it has an overwhelming message of hope and optimism that left me unexpectedly moved. It’s not hyperbole to say this is the best work Spielberg has put forth in decades. AMARÚ Director Steven Spielberg decided it was about time to remind everyone who the king of the summer blockbuster is. With Disclosure Day , he drops you right into the fray and says “go.” What ensues is a masterclass of exciting action with epic cinematography, awe-filled wonder surrounding the question if we’re alone in the universe, and thought-provoking conversations about societal, religious, and moral standing in regard to the capacity of human empathy. Josh O’Connor is a great inquisitive conduit for these themes, but it’s Emily Blunt who left me speechless with her full range of emotion that carries the breathtaking gravity of this vastly entertaining film. ADRIANO While not without its setbacks, director Steven Spielberg takes a late-stage approach to one of his most notable subjects in the most Spielbergian ways imaginable. Disclosure Day ’s question of what humanity would do in the wake of a worldwide existential revelation doesn’t get an answer, at least not a concrete one. But Spielberg’s humanistic approach is more about exploration, and for all its messiness, it culminates in a finale that’s an emotional powerhouse in a way I can’t explain. And that’s all with an outstanding Emily Blunt performance and thrilling set pieces that show Spielberg’s still got it. QUENTIN While it has some singular moments, Disclosure Day feels incomplete, coming across as undercooked and obvious. So much of the core story’s plot and character development are relegated to quick-pass references and inferences that it’s hard to find any emotional investment. Between that, the underexplored themes, one-dimensional characters, and a somewhat cliffhanger-ish ending, it’s like watching only the last three episodes of a much longer season of television. Emily Blunt is terrific, and the action scenes — a train scene, in particular — bring some summer blockbuster flair; however, it’s not enough to fully save Disclosure Day from being a relatively sluggish self-plagiarization from director Steven Spielberg. KATIE Disclosure Day might be the most Spielbergian director Steven Spielberg has ever been, and that is absolutely a good thing. With childlike innocence, aliens, and the theme of empathy as humanity's foremost strength, it's a welcome antidote to cynicism and ignorance. It’s old-fashioned in its sincere idealism and big-hearted ideas, with expertly crafted suspense, exhilarating action set pieces, and a faultless cast, including an absolute star performance from Emily Blunt and a wonderfully wicked Colin Firth. One of my few criticisms is that I think it shows too much, and Spielberg’s previous genre-defining films prove that sometimes less is more. Nonetheless, Disclosure Day is pure big-screen entertainment. ROBERT I think a great cinematic comfort is when a director returns to the fold with the genre or style they made famous but haven’t dabbled in for a while, like Martin Scorsese with The Irishman . With Disclosure Day , director Steven Spielberg is back in his bag as cinema's greatest instiller of wonder and purpose. It was made with intent, with the action set pieces, score, and personality all humming to a familiar pitch. While the length and plot design aren’t pristine, the cast bounces off each other quite well while exploring heady questions about humanity and faith. Inspiring and touching — well-played Steven. BODE Disclosure Day finds director Steven Spielberg playing the hits, putting the wonder of Close Encounters of the Third Kind and the paranoia of Minority Report in a blender. And because this is Spielberg, the craft is impeccable, his cast is uniformly strong, and John Williams’ score is expectedly melodic. It’s just a shame that David Koepp’s script can’t match up, as clunky dialogue and notably underdeveloped themes and characters threaten to undercut the point Spielberg is trying to make about humanity and beyond. It’s still entertaining enough as is, but with a rewrite or two, this could’ve been even greater. PAIGE Steven Spielberg always manages to bring awe and wonder to the big screen, and that continues to be true with Disclosure Day . From his masterful craftsmanship and John Williams' fantastic score, to Emily Blunt's standout performance, Disclosure Day is a captivating conspiracy thriller. That said, David Koepp's script doesn't measure up to the level of filmmaking Spielberg brings to this project. The film raises a lot of intriguing questions but never really fully explores them. Even with its flaws, the movie remains thought-provoking and features several incredible moments that just might make you a believer. Want to hear even more of our thoughts? Nick and Adriano join Amarú to take A Bigger Bite out of Disclosure Day HERE .

ENCANTO Starring: Stephanie Beatriz, Diane Guerrero, Wilmer Valderrama, Angie Cepeda, Rhenzy Feliz, Carolina Gaitan, Jessica Darrow, Adassa, María Cecilia Botero, Mauro Castillo, and John Leguizamo Directors: Jared Bush and Byron Howard JACOB Though not flawless, Encanto is a movie full of joy that families are sure to fall in love with. It bursts with life and color in every frame, and while the songs may not be Disney’s strongest lyrically, they’re all deeply infused with a Colombian energy worthy of the wonderful instrumentation throughout. The story itself takes a few narrative shortcuts at the film’s expense (namely in the third act) and it all wraps up a bit too neatly, but the ultra-detailed animation and fun characters make up for most of that. It would seem the Disney formula still makes magic. ADRIANO Simply speaking, I was delighted by every moment of Encanto . As per the case with most of Disney’s animated efforts, it’s gorgeously animated, it’s really funny, and it hits you directly in the feels. Lin-Manuel Miranda's original songs are both catchy and powerful, and they pair well with the film’s themes of family and self-worth, as well as the culture it’s representing. My only real gripe is that I had to see it in 3D, which I truly hate. Other than that, this movie is undeniably charming. NICK The recent focus on animated features delving into different cultural backgrounds has been refreshing, but doing so doesn’t guarantee a great film, which is evident here. Similar to Pixar's Onward , Encanto is just sort of there. It’s notes of Happy Feet with a magical twist, and that works fine. Unfortunately, in a year of musicals, most of the songs here are forgettable the moment they end. That is really what plagues this film overall… it just isn’t as memorable as its predecessors. The animation is gorgeous as expected, but otherwise this was a bit of a letdown.

THE WOMAN IN CABIN 10 Starring: Keira Knightley, Guy Pearce, David Ajala, Gitte Witt, Art Malik, Gugu Mbatha-Raw, Hannah Waddingham, Kaya Scodelario, David Morrissey, Daniel Ings, Christopher Rygh, Pippa Bennett-Warner, John Macmillan, Paul Kaye, Amanda Collin, and Lisa Loven Kongsli Director: Simon Stone ROBERT Based on a popular book, The Woman in Cabin 10 is like if an Agatha Christie novel, say Death on the Nile , met The Girl with the Dragon Tattoo . The story is one you have seen hundreds of times: a main character, fresh from a traumatic experience, gets caught in the middle of a murder plot but is gaslit into thinking she is crazy. Unfortunately, in addition to being derivative, it is also constructed poorly, with unusual character motivations, questionable actions, and illogical conclusions. If you enjoy Keira Knightley-face on a boat, this movie is for you, but otherwise, unravel a better mystery. KATIE The Woman in Cabin 10 is disappointingly weak, considering the straightforward concept and strong cast. I found the lead character Lo, played by the always reliable Keira Knightley, underdeveloped, and I was frustrated by her confusing decision-making. Plus, her character-defining trauma is alluded to through flashbacks that aren't substantial enough to be meaningful. When certain characters’ decisions or twists didn't make sense, the story simply skipped over the details and moved on. There were so many instances where I was left questioning minor plot details, which really distracted from any potential enjoyment.