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A HOUSE OF DYNAMITE Starring: Idris Elba, Rebecca Ferguson, Jared Harris, Gabriel Basso, Tracy Letts, Anthony Ramos, Moses Ingram, Jonah Hauer-King, Greta Lee, and Jason Clarke Director: Kathryn Bigelow AMARÚ Kathryn Bigelow knows how to stress you the hell out. She’s masterful at directing subtle intensity out of commonly mundane happenings until, seemingly out of nowhere, that build up grabs you by the throat. A House of Dynamite does that three times over, with Rashomon -style storytelling retreading a ticking-clock political timeline, and a huge ensemble of game performers, especially standout Gabriel Basso. He alone saves act two from feeling redundant after an explosive first, and helps maintain enough tension to make up for a flat final act. Even with its soft landing, Dynamite is another successfully gripping anti-war introspective for Bigelow. ADRIANO I love seeing director Kathryn Bigelow back in her wheelhouse of tense political thrillers, but A House of Dynamite was depressingly pointless. As well-researched as it seemed in its dissection of the US Government's response to an attack, I was waiting for the film to reach a purpose beyond bleak doom. But the ending is so abrupt that the rest of the film is one big waste of time, especially considering the utter lack of characters to emotionally latch onto (aside from maybe Jared Harris). So, suffice to say, this was an intense but disappointing return for Bigelow. QUENTIN A House of Dynamite starts off with a bang, a perfectly constructed first act that is taut and tense in all the best ways. However, acts two and three are presented in a nesting-doll structure that repeats itself, which results in diminishing returns as you see several scenes multiple times. Even through that repetition, there is almost zero character development, including some characters that serve no purpose whatsoever. Furthermore, the ending is so unsatisfyingly abrupt that you might think director Kathryn Bigelow forgot to shoot the script’s final pages. That first act, though… It’s too bad the rest of the movie couldn’t match its greatness. NICK A House of Dynamite is a film that could desperately use tension, which makes it hard to believe that Kathryn Bigelow – who is typically great at creating tension – directed this. Aside from a lack of urgency, the film features fairly bland characters that don't warrant any attachment (save, perhaps, Idris Elba's President of the United States). Then there's the editing... content wise, this is practically a short film on a loop from different perspectives. It may have worked if not for the above issues, but instead, it magnifies the film’s shortcomings. As for the end… oh, it seems I’ve hit my word limit. ROBERT Kathryn Bigelow is at a place where every time she releases a movie, it is a huge deal, magnified by the eight years since her last directing effort. Unfortunately, the wait was met with a paper tiger in the form of A House of Dynamite . The cast, the story structure, the score, and sound are all reminiscent of a prestige titan seen in Bigelow’s history, but as the plot unfurls, it becomes a word soup of acronyms, safety protocols, and on-the-nose metaphors. In 2025, for films in which Idris Elba plays a world leader, it is a true toss-up which is more logical. KATIE A House of Dynamite begins with an excellent first act, full of tension and expertly built suspense, and introducing us to interesting characters and a compelling, dread-inducing scenario. I didn’t mind the second time it takes us through the same events from a different perspective, but by the third, I was slightly frustrated, noticing the repetitiveness and that many of the characters didn’t seem to matter. The score is fantastic, and the performances are solid, but not enough new information is revealed over the three perspectives. The ending, which I was looking forward to after very nearly losing interest, is abrupt and unsatisfying. BODE It’s clear that director Kathryn Bigelow will forever be committed to holding a mirror up to America’s political landscape. A House of Dynamite continues that very mission by bringing a Rashomon -style approach to a doomsday scenario. On a moment-to-moment basis, it’s certainly watchable, even though the structure doesn’t entirely work, Bigelow still knows how to create tension, and she has formed an undeniably strong ensemble; however, in its repetition, the film fails to make a larger point about the severity of the situation, which isn’t helped by its total non-ending. It's pretty frustrating all around.

PRISCILLA Starring: Cailee Spaeny, Jacob Elordi, Dagmara Dominczyk, and Ari Cohen Director: Sofia Coppola ADRIANO As a long-time admirer of director Sofia Coppola, I'm delighted to say that Priscilla exceeded my expectations. The sheer force of Cailee Spaeny's nuance alone makes Priscilla something special, but in true Coppola fashion, she pushes beyond what is expected of her to create an almost fairytale-like story about the flame of young love and when that flame goes out. The film is remarkably judgement-free while simultaneously never giving Elvis Presley (played astonishingly by Jacob Elordi) a pass. There is maybe one scene I'd take out, but beyond that, Priscilla is a fantastic telling of one of history's most famous couples. QUENTIN Although it drags a bit in the middle (and I admit a proclivity to liking almost all things related to Elvis Presley), Priscilla is easily director Sofia Coppola’s finest film to date. By flipping the script to tell the other half of the story, we come to learn more about the at times beautiful but often troublesome relationship between Priscilla (Cailee Spaeny) and The King (Jacob Elordi). It’s obviously more subtle, empathetic, and sensitive than last year’s Elvis , but no less affecting as it paints an honest portrait of young love, insecurities, and seeing your way through to the other side. NICK One of Sofia Coppola's best directorial efforts, Priscilla ’s success comes down to decision-making. The film’s vibe adapts to suit the themes within Elvis (Jacob Elordi) and Priscilla Presley’s (Cailee Spaeny) romance, yet never attempts to exploit or villainize these characters. A successful relationship needs to be one of partnership, not ownership; sadly, their union fits the latter. Spaeny’s journey from smitten schoolgirl to discouraged wife is classy and poised, while Elordi exposes Elvis’ darker side in a performance focused on the man over the celebrity. Each gives a terrific performance that should carry Priscilla straight into the awards conversation. PRESTON Priscilla is absolutely beautiful cinematically, and it perfectly captures the aesthetics of the time. Otherwise, it is an unsatisfying slog that leaves a lot of meat on the bones…I know, I’m bummed too. Elvis Presley is only one generation removed from my own, and the storytelling assumes the viewer has trivia-level knowledge of the Presleys' lives. Why not tell Priscilla’s (Cailee Spaeny) whole story instead of just demonstrating that Elvis (Jacob Elordi) was an asshole and that she was, somewhat complicitly, taken advantage of? The pacing, editing, and lack of character development rounded out an experience that had me feeling less than enthused upon theater exit. PAIGE Although Priscilla thrives on the brilliant direction from Sofia Coppola, it’s the captivating lead performances that will rope you into this story. That especially applies to Cailee Spaeny, whose portrayal of Priscilla captures the icon’s pure essence and emotions simply through facial expressions, something not many performers can pull off successfully. Overall, this film feels like a dark fairytale, giving viewers a glimpse inside a couple's young love, where one partner has the power while the other is being robbed of innocence. Granted, though, while it’s a nicely paced story that builds towards its climax gracefully, the ending moment isn’t as impactful as I had hoped. CALEB With Priscilla , director Sofia Coppola weaves a devastating tale that explores innocence and the people who prey upon it. On a technical level, the film is practically flawless. The editing, cinematography, and score are all amazing; however, the true magic of the experience comes from its two leads and their powerhouse performances. Cailee Spaeny shines, effortlessly capturing Priscilla’s gentle naïveté, while Jacob Elordi dominates the screen, instilling his Presley performance with a crushing, profound sense of emptiness. With performances this amazing and direction this impeccable, it would be dishonest for me to call Priscilla anything less than a triumph. This film was reviewed by Quentin as part of Bitesize Breakdown's coverage of the 2023 Venice International Film Festival.

MAY DECEMBER Starring: Natalie Portman, Julianne Moore, Charles Melton, and Cory Michael Smith Director: Todd Haynes PAIGE May December is an uncomfortable and pulpy melodrama that embraces its absurdity in a very unique manner, which in doing so, somehow makes the film work flawlessly. Todd Haynes continues to prove that he’s a hell of a director, garnering stellar performances from Natalie Portman, Julianne Moore, and Charles Melton (who, surprisingly, is the true stand out of the film). While I do wish we dove even deeper into these characters' psyche to get a better understanding of the overall picture we’re presented with, I must admit… These interpretations are memorable as is. ADRIANO It'll be a while before I finish processing the brilliance of May December . I didn't love the moments that veered into TV-movie campiness, but I understood the attempt to show how we tend to infantilize tabloid events. What makes the film so fascinating is Samy Burch's screenplay, which analyzes how ego and trauma can follow us into our lives in ugly ways. Natalie Portman’s and Julianne Moore’s performances are obviously fantastic, but Charles Melton's devastating turn is my personal standout. May December is a stomach-turning knockout that I'm so happy exists. AMARÚ There is a pretty awesome balance in May December where director Todd Haynes and composer Marcelo Zarvos go hard on the soap-operatic intensity without any of the actors going down that melodramatic rabbit hole. It creates the tension needed for the film’s awkward subject matter, and an avenue to allow such a wickedly devilish performance from Natalie Portman. Haynes’ ability to slyly hitch her cunning to Charles Melton’s and Julianne Moore’s polarized performances while combining that dynamic with a taut script and Zarvos’ over-the-top score makes May December a grippingly unique thriller. KATIE May December is an unsettling, challenging, yet irresistibly engaging film. Director Todd Haynes masterfully channels the overwrought emotion and artifice of 1950s melodrama, exploring common themes of women grappling with notions of taboo desire and social expectations. The film keeps the audience constantly off-balance with its sudden tonal shifts and dramatic orchestral score, resulting in a darkly comedic and perfectly absurd effect. The central performances by Natalie Portman and Julianne Moore are deeply layered and disconcerting, forcing the audience to constantly question their intentions and moral character. This film will stick with you for a while. QUENTIN While I admire the performances of all three leads on an artistic level, they simply aren’t good enough to make May December something worth recommending. For the most part, this is just a boring movie, plain and simple, coupled with the campiness and melodrama that make Lifetime Movies a punchline. It might have worked better had it picked a lane - either being a full-on homage or satire of made-for-tv movies, OR a deep dive into the aftermath of the Mary Kay Letourneau case (on which the movie is loosely based); however, in trying to come at it from both angles, it undermines both approaches. This film was reviewed by Paige as part of Bitesize Breakdown's coverage of the 2023 New York Film Festival.

KNEECAP Starring Naoise Ó Cairealláin (Móglaí Bap), Liam Óg Hannaidh (Mo Chara), JJ Ó Dochartaigh (DJ Próvaí), Michael Fassbender, Fionnuala Flaherty, Simone Kirby, Josie Walker, Adam Best, and Jessica Reynolds Director: Rich Peppiatt KATIE Kneecap is one of the most exciting films I’ve seen in ages. Naoise Ó Cairealláin and Liam Óg Hannaidh, stage names Móglaí Bap and Mo Chara, respectively, play themselves in a fictionalised biopic that charts their recruitment of DJ Próvaí (JJ Ó Dochartaigh) and their sensational rise to success. It’s unbelievable that the trio has never acted before, and they drive the relentlessly energetic vibe. It’s also impressively innovative, with its hand-drawn visuals, frenetic editing, and inspired use of claymation to portray the effects of a ketamine trip. Presenting a deeply thought-provoking yet sharply funny exploration of Irish language and identity, Kneecap is a must-see. AMARÚ Kneecap has an upstart comedic feel similar to Shaun of the Dead , and an underlying-yet-in-your-face political fervor that will have you hyped beyond measure. Even more impressive is the powerful music and performances from the title group (Móglaí Bap, Mo Chara, and DJ Próvaí), given that they aren’t professional actors and their songs are mostly in an endangered language (Irish). Yes, they’re playing themselves, but it’s never a guarantee one can recreate a past emotional experience and have it still translate so wonderfully in the present. But hearing their music, you can understand why this movie hits so hard. QUENTIN Kneecap has a crackling energy, killer music, stylish directorial flourishes, and solid performances, especially considering the three leads are first time actors (even if they are playing themselves), but I struggled to become invested in the story. Maybe my lack of knowledge about the situation surrounding the Irish language in Northern Ireland caused me to miss important context, or that knowing it’s a heavily fictionalized “biopic” just took me out of it — hard to say — but this mashup of Trainspotting and Straight Outta Compton should have been right up my alley. Alas, it was not. Kneecap as a hip-hop group, though? I’m pressing play all day.

BOOKWORM Starring: Elijah Wood, Nell Fisher, Michael Smiley, and Vanessa Stacey Director: Ant Timpson This film has been reviewed by Paige and Nick as part of Bitesize Breakdown's coverage of the 2024 Fantastic Film Festival. NICK Bookworm is a fairly formulaic father/daughter story, but it works within that formula well. Filmed almost entirely in the wilderness (a beautiful showcase for New Zealand), this is a well-shot adventure bolstered by the performances of its lead actors. You have Nell Fisher's Mildred, the know-it-all daughter, contrasted with Elijah Wood's character, her estranged magician father; their chemistry is the lifeblood of this feature. The other thing about Bookworm is its willingness to tread into darker territory, which in turn strengthens the film. All in all, it’s a solid children’s film bound to appease adults and children alike. PAIGE Even though some of the gags don’t always land and the script is a bit clumsy, the peculiar chemistry between Elijah Wood's and Nell Fisher’s characters is what makes Bookworm shine. It’s a sweet and adventurous father-daughter tale with some lovely moments sprinkled throughout. While I’m not quite sure if the dry and offbeat New Zealand humor will work for everyone, it worked for me. Ultimately, I found this family flick to be cute and somewhat fun, even if the pacing is a little slow at times.

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.

FRIENDSHIP Starring: Tim Robinson, Paul Rudd, Kate Mara, Jack Dylan Grazer, Josh Segarra, and Billy Bryk Director: Andrew DeYoung ADRIANO As a long-time fan of Tim Robinson's I Think You Should Leave , I'm delighted to say his comedic sensibilities aren't exclusive to sketch comedy. Thanks to Robinson's pitch-perfect delivery, Friendship contains plenty of laughter throughout. The constantly excessive absurdism of the plot and Paul Rudd's delightful straight-man act also add a lot to the experience when it comes to the hilarity. Did I think the movie's message on loneliness could've been executed better? Perhaps. But if you need to laugh consistently for 97 minutes, I don't know how Friendship wouldn't be exactly what you're looking for. NICK I think you should leave... That’s what I thought about 10 minutes into Friendship as I realized this wasn’t going to be my kind of comedy. I stayed until the end, sure, but my suspicions were correct. Aside from the rare gag I found to be clever, at best, I couldn’t muster much more than the odd smirk. Had I not expected the laugh-out-loud comedy this was promoted as, I could have gotten deeper into the concept of this bizarre character study. Instead, I was left with Tim Robinson’s repetitive antics and question of “why?” It’s safe to say this one just wasn’t for me. AMARÚ The desire for personal connection is universally relatable, and the team behind Friendship utilizes over-the-top humor to emphasize that basic human need. However, what some call cringe comedy, I call flat out annoying. Really, what the hell did I just watch? I get what Tim Robinson and writer/director Andrew DeYoung are going for, but there’s only so much self-inflicted pain you can cause before it crosses the line into embarrassment. They are habitual line-steppers, and my urge to walk out of the theater to avoid the next uncomfortable situation that the unlikable characters put themselves in is not an experience I want to repeat. BODE It’s probably easy to assume that Friendship is an extended I Think You Should Leave sketch, especially given that it stars Tim Robinson, one of the new masters of cringe comedy. You wouldn’t be totally off, as writer/director Andrew DeYoung leans into Robinson’s trademark discomfort for everything it’s worth, ensuring that this demented portrait of male loneliness never takes a conventional path (even in moments where you think it will). It’s not only funny as a result, but unexpectedly poignant as you peel back the layers. It can be a little scattershot at times, but even with that, Friendship manages to linger. This film was reviewed by Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

THE WATCHERS Starring: Dakota Fanning, Georgina Campbell, Olwen Fouéré, Oliver Finnegan, Alistair Brammer, and John Lynch Director: Ishana Night Shyamalan KATIE Ishana Night Shyamalan crafts an incredibly creepy atmosphere in her feature debut, The Watchers . The intriguing premise and gothic style drew me in each step of the way, complemented by chilling sound design and a great lead performance from Dakota Fanning. The script is sometimes uneven, utilising some very heavy-handed metaphors and clunky dialogue, but my enjoyment outweighs the problems I have with it, all of which are common for a first film. Overall, The Watchers is a very promising start for Ishana Night Shyamalan. PRESTON Ishana Night Shyamalan follows in her father’s (M. Night Shyamalan) footsteps with a successful first outing as a film director with The Watchers . The sound design is the star of this fantasy-thriller, bolstered by excellent supporting visual effects and cinematography. The plotline is handicapped by a few inflection points that confuse and frustrate, while the repetitive, conspicuous messaging is a bit too tenacious. However, the story borrowed from A.M. Shine’s novel is quite inventive and keeps you engaged. We even get the expected Shyamalan plot twist to boot. I think we can expect great things from Ishana Night Shyamalan in the future.

THERE'S SOMETHING IN THE BARN Starring: Martin Starr, Amrita Acharia, Townes Bunner, Jeppe Beck Lauresen, Paul Monaghan, Kiran Shah, Zoe Winther-Hansen, and Calle Hellevang Larsen Director: Magnus Martens This film has been reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023. QUENTIN I have no doubt that there is an audience for There’s Something in the Barn , and had it come out in 1987, I probably would have been a part of it. However, as an adult, it’s just a little too campy and goofy for me. Imagine forcing someone to watch Gremlins 2 for the first time as an adult. Without the nostalgia, they almost certainly will think it’s too silly, and Barn is a mix between Gremlins 2 and Krampus . It almost needs that nostalgia to fully work, which means that 10-year-olds who discover this will surely be showing it to their kids in 20-30 years. NICK There’s Something in the Barn has all the makings of a future cult classic, but it didn’t quite work for me. It’s a campy film, so some of the acting and writing are expected to be over-the-top, but even considering that, there are some rough showings. Once we get into the elf mayhem, however, there is some fun to be had. Sadly, even these scenes leave a lot to be desired as they’re just not as wild and crazy as they could be. As far as Christmas horror goes, it’s certainly no Gremlins , and not quite Krampus , but likely falls somewhere just shy of that.

THE PALE BLUE EYE Starring: Christian Bale, Harry Melling, Gillian Anderson, Lucy Boynton, Charlotte Gainsbourg, Toby Jones, Harry Lawtey, Simon McBurney, Timothy Spall, and Robert Duvall Director: Scott Cooper AMARÚ So you know, 1999’s Sleepy Hollow is one of my favorite movies, and The Pale Blue Eye is very reminiscent of that Johnny Depp thriller since both feature a stacked cast, dulcet tones, and devilish mystery. However, where Sleepy Hollow is compelling, this is stale. As entertained as I was in ‘99, Eye is a tedious struggle. Outside of Poe’s (Harry Melling) inspiring game of wits with Landor (Christian Bale), each piece of dialogue feels like a boring, pompous, 10-minute monologue to no one in particular. Thank god for Bale’s and Melling’s aptitude though, or I would remember nothing from this film. QUENTIN Though it boasts committed performances and a suitably gothic atmosphere, The Pale Blue Eye isn’t entirely sure what it wants to be. It starts and ends as a murder mystery akin to From Hell , but the middle sections boringly meander about the developing partnership between Detective Landor and Edgar Allan Poe (Christian Bale and Harry Melling, respectively). Then, there is a completely tacked on second ending. Since the story focuses more on the two investigators than the murder, the mystery has very little momentum to hold your interest, which, when combined with the low-lighting and foggy cinematography, make for a very sleepy watch. JACOB As excellent as Christian Bale is and as much as Harry Melling thoroughly embodies Edgar Allen Poe, The Pale Blue Eye is slightly lesser poetry from director Scott Cooper. The mystery itself ultimately works, but it’s too thin for any true thematic weight to lift once the admittedly unexpected twist is revealed and recontextualizes what came before. Couple that with a narrative that meanders more than it moves, and there’s not much to write home about apart from some solid costume design and the engaging interplay between Bale and Melling. For January, it’s not bad…but it could have been better. PAIGE The Pale Blue Eye will definitely differ from viewer to viewer, and while I like an atmospheric whodunnit, gothic horror films aren’t really my vibe, especially slow burn ones like this that take their sweet time. Don’t get me wrong, it has great performances and it’s a well made film, but it’s not what I hoped for when it comes to an Edgar Allen Poe story. I’m going to be honest with you, it’s a bore. The runtime dragged me through the snow a bit, but for others, it may be an intriguing mystery worth investigating. JOSEPH If I could summarize The Pale Blue Eye in one word, it would be “dull.” It is a nonsensical detective story that never feels mysterious or intriguing. Christian Bale does his best, and despite a good performance, he alone can not save the film. Harry Melling doesn’t shine as Edgar Allan Poe, but he tries, and the historically inaccurate Foghorn Leghorn impression does him no favors. It’s the final twists that really killed the film for me, though. Still, I must admit the costumes and cinematography are gorgeous, so at least it’s not a total loss, just a disappointment.

HAVOC Starring: Tom Hardy, Jessie Mei Li, Justin Cornwell, Quelin Sepulveda, Forest Whitaker, Yeo Yann Yann, Timothy Olyphant, Sunny Pang, Jim Caesar, and Luis Guzmán Director: Gareth Evans NICK Violent. Visceral. Brutal. Bloodbath. These are just a few of the words that come to mind for Gareth Evans' Havoc . The Raid director shows once again that he can make an action film as good as anyone, only this time he does so in English. Tom Hardy is back in the ass-kicking lead role that he thrives in, particularly in two dynamic set pieces bound to be among the best of the year. It’s a shame this one is skipping a theatrical release because it’s pure turn-your-brain-off-and-lock-in mayhem that would’ve surely been a crowd-pleaser. AMARÚ Gareth Evans can direct the hell out of some action scenes, but his gritty and realistic Raid series has been ingrained in my brain for so long that I was thrown off by Havoc ’s opening CGI-looking sequence. Once I saw how Tom Hardy's and Forest Whitaker’s over-the-top performances matched Evans’ high-octane action, however, I recalibrated my thinking. I sat and watched a very fun crime film with a lot of enjoyable actors playing in a bloody sandbox. It was hard to accept how such a merciless film allowed certain characters to survive miracles, but I said “fuck it” and went along for the ride. KATIE Havoc lives up to its name in the worst possible way because it’s guilty of everything that bothers me about modern action films. Most of the action is indecipherable thanks to the ridiculously shaky camera, constant quick cuts, and far too much reliance on CGI. None of the characters the film follows should have survived. At times, they’re literally showered in bullets, but emerge unscathed; then suddenly appear in random settings with no indication of how they got there, which removes any sense of tension or stakes. Havoc is just a few decent action scenes that are thoughtlessly stitched together. QUENTIN When a movie is sold as the first action thriller in a decade from the director of The Raid – starring Tom Hardy, Timothy Olyphant, and Puerto Rican treasure Luis Guzmán – an expectation is set. Sadly, despite visceral action and a chaos befitting the title, Havoc is more exhausting than fun. It’s the loudest and worst parts of the John Wick movies, but minus the creativity (one harpoon aside) and, dare I say, the subtlety. It’s a lot of machine-gun noise and stereotypical archetypes, which I loved in the 90s, but have apparently outgrown. There are badass moments, no doubt. But they don’t make a great movie. ROBERT If you ever wondered what it would be like if Eddie Brock knew gun-fu, then Havoc is the movie for you. Seriously, when Tom Hardy has an American accent, it feels as if quality starts at a lower threshold. There were vestiges of Smokin’ Aces and S.W.A.T. in this film but I didn’t have as much fun with it. It seemed like every person needed at least six bullets before they could be dispatched, and globular blood flew up toward the camera every five minutes. Also, the visual effects were jarring with each action set piece. I expected a better time. BODE The last Max Payne video game was released over a decade ago, but the scuzzy spirit of that series lives on in the form of Gareth Evans’ latest actioner, Havoc – from its wintery setting to its haunted detective antihero (who Tom Hardy embodies, East Coast accent and all). As expected from The Raid director, the action sequences are incredibly exhilarating, with each one bloodier than the last. I just wish the human drama didn’t needlessly convolute itself in its set up, ultimately seeming like an afterthought. Still, because Evans hasn’t lost his violent touch, I really can’t write this off.

THE FIRST OMEN Starring: Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Ralph Ineson, and Bill Nighy Director: Arkasha Stevenson ADRIANO For a film with so much seemingly going on, I found The First Omen remarkably dull. The film is good at building tension from scene to scene, but I wish it had relied less on atmosphere and creepy imagery and more on jump scares and grisly gore to get the audience to react. Nell Tiger Free is a fantastic lead, though; however, in the end, I found the film to be a wholly forgettable experience, with one absurdly laughable final scene attempting to get an applause break by connecting it to the original film. NICK You may enjoy The First Omen as long as you don’t think about it too hard. If so, you’re bound to scratch your head due to its habit of leaving unanswered questions. This extended build-up to the story of Damien (which the film treats as if it’s a big reveal in spite of the film being called The First Omen ) does an adequate job setting up the character’s future. However, the majority of the film can be a bit of an arduous journey to reach its ultimate destination. Points for setting the table, but Damien needs to pick up the pace if he’s getting a follow-up. PRESTON The First Omen is a refreshingly creepy prequel that revives a classic storyline. Its biggest success lies in its alignment with the original series several decades later and the sufficiently eerie storyline that doesn't overly rely on jump scares and similarly cheap shenanigans to induce fear, even if the scariness factor isn’t off the charts. The main issue is an overlong runtime that struggles to keep its audience engaged, but the actual scene-by-scene editing is quite exceptional. Good acting and great cinematography round out a very respectable outing for this struggling genre.