SANCTUARY Starring: Christopher Abbott and Margaret Qualley Director: Zachary Wigon QUENTIN Sanctuary , which feels like a stage play (the entire movie takes place in a single hotel room), does a great job of keeping viewers on their toes. One is never entirely sure what is real, what is role play, and what is unreliable narrator. Christopher Abbott and Margaret Qualley bounce off each other exceptionally well, with Qualley especially giving a performance worthy of some non-Oscar awards. The somewhat anticlimactic ending doesn’t make a lot of sense if you think about it too hard, but it still works organically in the context of the story. Overall, a pleasant, and sometimes sexy, surprise. NICK Sanctuary starts off fun. There is a little mystery, some sexual tension, and Margaret Qualley at her scene-chewing best. Then, it just keeps going…and going. I slowly began to feel as trapped as the main characters. What begins as a strong look into differing power dynamics, reaches a point where even the twists wear out their welcome. Were this a 45-minute episode of an anthology series, there's no doubt it would be an award winner, but at feature length, there just isn't enough steam to reach the finish line. ADRIANO Sanctuary had my attention until the very end, and it made good use of that fact. The movie takes place in a single hotel room for the entirety of its runtime, and not once did it feel staged or play-like due, in part, to its vibrant tone and wicked twists. It kept me guessing constantly with its psychological trickery, and, truth be told, I was all in for it. Christopher Abbott is great, but Margaret Qualley is chewing up every single line of dialogue. I loved it. This movie is a success in almost every department. JACOB One of the IP era’s cruelest casualties, the erotic thriller has faded from the cinematic consciousness, especially as the lesser of them are relegated to streaming; leave it to Margaret Qualley to bring it roaring back in fine form. Sanctuary is deliciously fun and deliriously horny, the kind of two-hander that thrives on the strength of its performances and a crackling script from Micah Bloomberg. It is admittedly imperfect, primarily in how it loses much of the eroticism heading into the second act, but the stellar turns from Qualley and Christopher Abbott keep it fresh enough to remain thoroughly engaging. This film was reviewed by Nick, Quentin, and Adriano as part of Bitesize Breakdown's coverage of the 2022 Toronto International Film Festival.

PARALLEL MOTHERS Starring: Penélope Cruz, Aitana Sánchez-Gijón, Milena Smit, Israel Elejalde, Julieta Serrano, Rossy de Palma, Pedro Casablanc and Adelfa Calvo Director: Pedro Almodóvar ADRIANO Parallel Mothers is a flawed yet beautiful film. I had some issues with Pedro Almodóvar’s directorial style, but I’ve never been much of a fan anyway. For me, Almodóvar always worked better as a writer, and this film is no exception. The film’s exploration of motherhood is told through a wonderfully crafted and engaging story that takes both shocking and heartbreaking turns, which are brought to life by an amazing Penélope Cruz. She nails both the internal and external emotions that her character must deal with perfectly. I didn’t love the ending, but I loved nearly everything else. JACOB Pedro Almodóvar has a reputation as one of the finest Spanish filmmakers to ever live. His latest work, Parallel Mothers , looks to keep that reputation upheld. The actual story is fairly straightforward, but it’s Almodóvar’s directorial sensibilities that give the film a weight it may not otherwise possess. Every frame is packed with such gorgeous coloring and production design that I wish I could live on one of his sets, and the performances he elicits from Penélope Cruz and Milena Smit would rival any Oscar contender in a just world. Alberto Iglesias’ score is also one of 2021’s absolute finest.

GOODBYE JUNE Starring: Kate Winslet, Andrea Riseborough, Toni Collette, Johnny Flynn, Timothy Spall, Fisayo Akinade, Stephen Merchant, and Helen Mirren Director: Kate Winslet ROBERT The death of a parent is wrought with emotional pitfalls, especially when intermingled with everyday life’s struggles and interfamily turmoil. Goodbye, June never allows you to hide from the impending doom and crushing weight of the inevitable as you spend the entire film with the Cheshire family in the hospital without respite. In her directorial debut, Kate Winslet composes scenes that exemplify both the emptiness and the chaos within the characters at any given moment, making every shot meaningful. The performances sell the realistic gravity of June’s (Helen Mirren) situation and how everyone tries to cope. Do not skimp on the tissues. BODE Given the number of great filmmakers Kate Winslet has worked with throughout her career, it’s no surprise that she would step behind the camera herself for Goodbye June . Though it can come off a bit too saccharine for its own good (especially as it concludes), there’s still an honest core in its depiction of how a dysfunctional family deals with the impending loss of their mother that manages to shine through with realized performances, editing (by Lucia Zucchetti) that creates an intimate feel, and a gentle score from composer Ben Harlan. Decent as far as directorial debuts go.

THE BAD GUYS 2 Starring: Sam Rockwell, Marc Maron, Awkwafina, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne, Maria Bakalova, Alex Borstein, Richard Ayoade, and Lilly Singh Directors: Pierre Perifel and JP Sans AMARÚ The first Bad Guys is one of my favorite unsung films from Dreamworks Animation. The mix of heart and great characters carried that simple story a long way. While its sequel still has lovable characters and a matching voice cast, the comedic bits revert back to the shallowest of children’s sensibilities seen in Dreamworks’ lesser catalog. It focuses on bigger spectacle instead of its grounded themes of redemption, undercutting the solid messages it has surrounding second chances. Yet, with the amazing animation and some fun additions to the cast, I had a good enough time to want to visit with this crew on another outing. ADRIANO Like its predecessor, I don't have a strong inherent issue with The Bad Guys 2 . While I'd actually consider it an improvement, it just didn't leave a strong impression on me. But, I can't let that cloud the fact that it likely will for others. Setting aside that I didn't find it that funny, the film has an endearing message for kids on top of excellent voice acting and characters, and a pacing/animation style that led to pretty memorable set pieces. These movies aren't for me, but I see the value in recommending The Bad Guys 2 nonetheless.

SATURDAY NIGHT Starring: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Woods, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J.K. Simmons Director: Jason Reitman ADRIANO Plain and simple, I loved Saturday Night . I do think it wraps up a little too quickly, but director/co-writer Jason Reitman ups his game big time here with a surprisingly effective ticking-clock narrative, unique cinematography choices, a pulse-pounding score, and stress-inducing editing. On top of that, the movie's really funny, as well. With an ensemble that's completely committed, Saturday features laugh-a-minute dialogue that feels perfect with the figures that are represented. Lastly, at a crisp 109 minutes, the movie gets to do everything it wants to do, and it balances all the characters wonderfully. This movie simply rocks. NICK All credit to director Jason Reitman for even attempting to bring the mayhem of SNL ‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness. AMARÚ Writer/director Jason Reitman starts Saturday Night with a chaotically energetic one-shot that probably only captures an ounce of the actual nervous spirit of pre-show SNL , which has to be why some of the variety show’s issues get solved slightly too easily by film’s end. However, that doesn’t take away from the utter entertainment Reitman and the amazing ensemble provide. Chaos propels the film forward, but it’s the moments of calm between storms that allow today’s up-and-coming actors playing against pitch-perfect veterans to embody legendary comedians without becoming imitations. Saturday Night is a blast from front to back, and I didn’t want the show to end. PAIGE Jason Reitman’s Saturday Night is a chaotic mess in the best way possible. The film effectively captures what the 90 minutes leading up to the first episode of Saturday Night Live were presumably like with its frantic pacing, long tracking shots, and witty screenplay. Plus, the ensemble is hilarious, and all involved seem to be having a blast embodying their respective roles. Though the film does fall short in its character development by not giving everyone their moment to shine, all in all, it’s an entertaining movie from start to finish that most will enjoy, even if they aren’t SNL fans. PRESTON I don’t think you had to have been a huge fan of Saturday Night Live from the jump to enjoy Jason Reitman’s Saturday Night , but the nostalgia of it all definitely adds to an already fantastic experience. Its intentionally ataxic composition can be disorienting, at times, which is (of course) the point. But, if you are not well aware of who the famous persons being portrayed actually are, then that can detract from the experience, as you are transported frantically from scene-to-scene and character-to-character. The whole cast’s performances are spot on and the comedic tone of the time is expertly reincarnated. Overall, a great time. QUENTIN For a person who grew up watching SNL in the 90s (not to mention the cinematic classics of the original cast), Saturday Night was right up my alley as a sort of nostalgic time-capsule from an era I never personally experienced. Director Jason Reitman excellently captures the frenetic atmosphere that I can only imagine permeates the backstage area prior to SNL hitting the air, let alone the very first episode, while the cast admirably fills the shoes of the comedy icons (none more so than Dylan O’Brien as Dan Aykroyd and J.K. Simmons as Milton Berle). This movie doesn’t deserve to be forgotten. This film was reviewed by Nick and Adriano as part of Bitesize Breakdown's coverage of the 2024 Toronto International Film Festival.

STRANGE DARLING Starring: Willa Fitzgerald, Kyle Gallner, Ed Begley Jr., and Barbara Hershey Director: JT Mollner NICK If you've read my work before, you'll know I often take issue with non-linear timelines. Well, not only does director JT Mollner use the format successfully, but he does so in a way that enhances the overall film. With the concept of Chapters told out of order, it creates an uncertainty and intrigue that is only enhanced by the dynamic lead performances. Willa Fitzgerald and the criminally underrated Kyle Gallner come to play, and they held my attention from beginning to end of this gripping serial killer picture. Whether it’s the direction, the cast, or the story, Strange Darling is a triumph across the board. QUENTIN If you ever need a prime example of a movie that expertly subverts expectations, look no further than Strange Darling . Playing a bit like Sanctuary but with the throwback horror motifs of Pearl and The Texas Chainsaw Massacre , this is a twisty, tense, and thoroughly engaging thrill-ride. It’s also a great example of how to use non-linear storytelling to maximum effect. You’ve probably read my praise for Kyle Gallner in the past (he does solid work here too, no doubt), but he’s ultimately overshadowed by Willa Fitzgerald, whose performance drives everything happening on screen. Kudos to writer-director JT Mollner for creating something special with this one. PAIGE Willa Fitzgerald and Kyle Gallner may have delivered two of the most underrated performances of the year in Strange Darling . This sexy, twisted thriller will have you playing a game of cat-and-mouse with your expectations as it manages to have several diabolical tricks up its sleeve. Plus, director JT Mollner's ingenious non-linear storytelling excels in this beautifully shot 35mm gem. Everything from the flashy neon cinematography to the stellar sound design is intense. Go into this flick as blind as possible, and I promise you will enjoy the ride! KATIE I’m usually not a fan of serial killer films, so I was admittedly apprehensive when Strange Darling opened with the claim that it was based on a prolific murder spree. However, this audacious thriller surprised me, constantly subverting my expectations and using my assumptions against me in the best possible ways. The non-linear narrative is used to enhance the impact of the twisty cat-and-mouse chase, and it kept me engaged and constantly guessing. It’s gorgeously shot on 35mm that recalls the look of 1970s horror films, and is driven by forcefully captivating performances from Willa Fitzgerald and Kyle Gallner. This film was reviewed by Quentin and Nick as part of Bitesize Breakdown's coverage of Fantastic Fest 2023.

ELIO Starring: Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Brandon Moon, Brad Garrett, Jameela Jamil, and Brendan Hunt Director: Madeline Sharafian, Domee Shi, and Adrian Molina NICK While Pixar's recent offerings have felt geared more towards us (the generation who grew up on Toy Story ), Elio feels like a departure from that. Whether it's the villain who feels intentionally less frightening, the younger, child-like qualities of Elio (Yonas Kibreab), or the overall inoffensiveness of the film, this feels best geared for four to eight-year-olds. You still get beautiful, dynamic visuals and the underlying message of belonging that you’d expect, but this is a film made specifically for the little ones, and though that’s not always Pixar’s norm, there’s nothing wrong with that. ADRIANO With a movie like Elio , I'd typically just forget it and move on since it gave me no real reason to think about it after the credits. There was nothing I hated, but also nothing I loved. But leaving the theatre, all I could think about was how this completely lacked creativity or sincerity, the two winning ingredients for Pixar's best. Maybe I'd care less if it wasn't Pixar, but besides really great animation, and despite the movie insisting it offers a lot, I can safely say Elio will fade from memory by next week. AMARÚ Pixar would have me watch a movie with big “FTK” energy on my second official day of summer break. But even through the frustrations my teacher brain couldn’t escape, I found Elio to be wondrous, imaginative, and lovely. Its tremendous visuals magnificently bolster the creative extraterrestrial world, and while this does skew more kid-friendly, the themes of loneliness, communication, belonging, and resilience ring true for adults and children alike. Maybe even more for adults who have to be resilient for both themselves and their less-equipped children. That last bit was not something I was prepared to tear up over on DAY TWO OF BREAK! BODE My relationship with Pixar isn’t what it once was, but I went into their latest film, Elio , supportive in that it’d be another original winner in their filmography. The results are…fine. It’s quite heartfelt in its exploration of loneliness and belonging, and some of the world building (achieved through stunning animation) can be pretty fun. I just wish it weren’t so busy and formulaic, but I suppose that’s what happens when you have three authorial visions duelling with each other over how this story should be told. Still, it’s cute enough that I can’t really come down hard on it. ROBERT While watching Elio , I couldn’t shake the feeling that this was a movie shown years later than the heyday for this kind of story, and then I thought about science fiction in the 1980’s; my mind went to Flight of the Navigator . So, we have the standard mid-tier Pixar template: unpopular protagonist with parental issues, looking for identity and belonging outside of their current situation, and it is paired with classic, Disney sci-fi storytelling. As such, it doesn’t reinvent the wheel, but it makes you think about trauma and life-resetting expectations in a cute, succinct package. Crying may happen, but not uncontrollably like with Coco or Toy Story 3 .

LOVE HURTS Starring: Ke Huy Quan, Ariana DeBose, Daniel Wu, Marshawn “Beastmode” Lynch, Mustafa Shakir, Lio Tipton, Rhys Darby, André Eriksen, and Sean Astin Director: Jonathan Eusebio ADRIANO There's something shamefully enjoyable about Love Hurts despite me being able to acknowledge that it's a terrible movie…and this movie is horrible. The story is needlessly convoluted, the action (while well-choreographed) is poorly filmed, it's way too short to feel anything, and I didn't buy a second of the film's central romance. If it wasn't for Ke Huy Quan's charm, this might have been unwatchable; however, he almost single handedly reminded me of the action films I loved as a kid that I'm sure I'd now think suck if I watched them today. For that, it gets brownie points from me. BODE The concept of Ke Huy Quan getting his own John Wick -style action vehicle (courtesy of the 87North team) is an exciting one on paper, which is why it’s disappointing that Love Hurts doesn’t fully live up to its potential. Despite some well-choreographed action sequences (first-time director Jonathan Eusebio comes from the world of stunts), a few genuinely funny moments, and the best efforts of Quan and his co-stars, none of these aspects are able to properly mask how sloppily assembled the film is, script-wise. The fact that it’s only 83 minutes, however, means the heartbreak is at least short-term. BRYAN Despite a charming Ke Huy Quan at the forefront, Love Hurts fails to deliver on all fronts. The film fails to present a compelling romance, exciting action set pieces or gut-busting humor - the things we are searching for in an action romantic comedy. With 83 minutes under its belt, the momentum was lost in the sauce and by the time any ounce of it appeared, the film was already over. A massive disappointment, especially with this being Quan’s first leading role in his 40-year long career. There’s definitely an enjoyable film here, but it struggles to give that to its audience. AMARÚ After both of their Oscar winning performances, Ke Huy Quan and Ariana DeBose’s joint follow-up, Love Hurts , left me wondering why they even took this film. It’s too serious to have the self-referential fun both actors are trying to have, but too poorly written and haphazardly edited to be taken seriously. Every scene plays like a throwaway from better R-rated action comedies, either moving the plot forward with no explanation or being exposition-riddled for no reason. The only people who knew what kind of movie this should have been are André Eriksen and Marshawn Lynch. By the end, I only watched so I wouldn’t get fined.

WINDFALL Starring: Jesse Plemons, Jason Segel, and Lily Collins Director: Charlie McDowell QUENTIN Given its minimalist approach and confined setting, Windfall feels very much like a “made during COVID” movie. That vibe actually works really well for the film, which plays out like a Hitchcockian stage play (the excellent score does some heavy lifting towards that end too). The three leads are varying levels of good, but it’s Jesse Plemons who shines the most, finally getting away from the sad sack characters he most often portrays. Although the story could have gone deeper in a few places and it drags ever-so-slightly in the middle, Windfall kept me engaged throughout (mostly) on the back of Plemons’ performance. NICK When you’re releasing original films as often as Netflix does, you’re bound to get some misses. That’s exactly what Windfall is, a miss. This under-the-radar release has some good things going for it: an intriguing premise, a notable cast… but, instead, it flounders. The comedy isn’t funny, the thrills aren’t thrilling, and the whole thing just kind of happens. It’s nice seeing Jesse Plemons have fun in his role, but Jason Segel and Lily Collins especially feel miscast. Windfall had a chance to tell a story that built tension and intrigue throughout, but all it did was make me look at my watch. JOSEPH Everything about Windfall is bizarrely captivating. The jazzy score is perfect for the offbeat humor that is tied to the story, while the clever script and dialogue maintain your interest. It’s nice to see Jason Segel play a slightly more serious role, although Jesse Plemons and Lily Collins stand out a bit more. In lesser hands, I think this film could have totally failed, but at the same time, I feel that it could have been better too. Even so, Windfall keeps your interest because of the talented performances, and it will have you chuckling in disbelief.

THE GORGE Starring: Miles Teller, Anya Taylor-Joy, Sigourney Weaver, and Sope Dirisu Director: Scott Derrickson NICK Although the concept of "the gatekeepers to Hell" is an interesting one, it's undone by a film that's clearly flawed. We could talk about the lack of chemistry between Miles Teller and Anya Taylor-Joy that creates a steady disconnect as their relationship grows. Or we could talk about the incredibly dated effects that reminded me of films like Van Helsing , which released more than 20 years ago. Or the sloppy edits, or the jarring tonal shifts… I could go on. The Gorge may have been well set up for success (notable cast, successful director, Black List script), but it wasn't able to achieve it. QUENTIN There are two movies in The Gorge — a decent one about snipers protecting the world from “the door to hell,” and the other about two loners finding love in the unlikeliest of situations; however, director Scott Derrickson doesn’t execute either one particularly well. Despite intriguing (if overly expository) world-building, the “Hell” story suffers from poorly shot action sequences and shoddy CGI. Meanwhile, the “love” story is ruined by Miles Teller and Anya Taylor-Joy’s lack of chemistry and the meager emotional investment generated from two people passing notes. One can see glimmers of why this script was on the Black List, but as a film, it’s mediocre. KATIE Initially, there seemed to be a lot to like about The Gorge – a strong cast that features Anya Taylor-Joy and Miles Teller, a compelling concept, and a reliable director – before it becomes something else entirely. The romantic connection between characters prohibited from contact and entrusted with guarding a mysterious, undisclosed threat is an interesting idea, but is quickly discarded in favour of a less interesting, more predictable story that heavily relies on poor-quality CGI. The effects are bad, the scenes look flat, and the action set pieces are lifeless. Overall, The Gorge fell short of all my expectations. PAIGE Even though The Gorge feels like two movies sloppily combined into one, I was nonetheless entertained by it, even if I expected better from director Scott Derrickson. The first half is a somewhat ominous tale of two lone snipers who are the "gatekeepers of hell" finding love in an unexpected place, while the second half turns into a high-concept, sci-fi action film with strong video game influences. These intriguing concepts should have been better handled so the movie flowed as one. At least it includes decent performances from Anya Taylor-Joy and Miles Teller, as well as another rad score from Trent Reznor and Atticus Ross, whose work elevates the movie. AMARÚ The Gorge is a weird hodgepodge of tonally throwing shit at the wall, that is both interesting and completely confounding. It jumps from character drama to wacky rom-com to horror sci-fi to action romance, and it’s hard to pin whether it’s sterile or stimulating. From scene to scene, the answer to that question relies on the two leads’ performances, and apologies to Miles Teller, but there’s a gorge-sized gap between his and Anya Taylor-Joy’s appeal. Whether she’s laughing, crying, or killing, you only really want to watch her, even as she carries Teller to the end of this winding ride. ROBERT If you cobbled together the love story of Upside Down with the antagonists of I Am Legend and the conceit of Chernobyl Diaries , you would have The Gorge . When there is a mystery and burgeoning romance, you can see an interesting concept, but once it steers hard into sci-fi action, it falls off a cliff (literally). Miles Teller gets to drum at some point, so you remember when he was at his apex, but otherwise, you shouldn’t care. Scott Derrickson tried an amalgamation of all genres of movies he directed prior, but it screams “lack of cohesion” into the void. BODE In its attempt to mesh a long-distance romance between haunted assassins with B-movie thrills, The Gorge has the type of genre-bending ambition that I can admire theoretically. However, though director Scott Derrickson sets things up with a fair amount of intrigue, it increasingly reveals itself as a hollow and derivative exercise, not helped by inorganic shifts in tone (bookended by some out-of-place needle drops), and a lack of chemistry between stars Miles Teller and Anya Taylor-Joy. Dan Laustsen’s cinematography and a nervy score from Trent Reznor and Atticus Ross elevate the material, but, for the most part, it’s ultimately forgettable.

DISENCHANTED Starring: Amy Adams, Patrick Dempsey, Gabriella Baldacchino, Maya Rudolph, Idina Menzel, James Marsden, Yvette Nicole Brown, Jayma Mays, Griffin Newman, and Alan Tudyk Director: Adam Shankman AMARÚ Disenchanted works best when it’s deconstructing fairy tale tropes. Amy Adams (Giselle) vs. Maya Rudolph (Malvina) as dueling evil queens, Gabriella Baldacchino (Morgan) sarcastically calling out her magical stepmother, and James Marsden (King Edward) going full Prince in real life was all a charming return to form. But the fine line between satire and Disney fantasy was too often blurred, forgoing smart parody for boring princess-story clichés, which sporadically disengaged me from the film. Less time in the musical fairy tale and more time in reality would have done this sequel some good. JACOB Unfortunately, Disenchanted continues one of the all-time bad movie streaks for one of our greatest actresses, as Amy Adams is forced to carry any and all of the fun of this film on her shoulders while everything else crumbles around her. Every idea seems to stem from the idea that the sequel had to happen rather than it being something people actually wanted to make. Each character not named Giselle (Adams) is at best two-dimensional, none of the songs are remotely as good as the predecessor’s, and every set feels like a soundstage. It’s not unseemly bad, but it’s bad.

F1: THE MOVIE Starring: Brad Pitt, Damson Idris, Kerry Condon, Tobias Menzies, and Javier Bardem Director: Joseph Kosinski QUENTIN Just so you know, I saw F1 on the world's largest IMAX screen, and I have no doubt that bumped my rating by at least a half reel. Watching the incredibly done racing sequences on a 127-foot by 69-foot screen with 12-channel digital surround sound created a fantastically immersive experience. However, outside of that and Brad Pitt's natural charisma, everything else left me wanting. Simply put, the story is generic, and it doesn’t do enough to make one invested between the in-car action. It’s certainly a lot of fun on the big screen, but I don’t think that will translate to the small one. AMARÚ F1 writers Ehren Kruger and Joseph Kosinski (who also directed) knew the film didn’t need to do anything special with its story because sticking to the sports movie magic formula generates blockbuster entertainment all on its own. So, they tapped cinematographer Claudio Miranda’s spectacular in-car camera work to create genuine thrills during its recognizable, yet still heart-pounding races, Brad Pitt and Damson Idris’ respectively established and up-and-coming star-power to connect you to somewhat thin characters, and Kerry Condon and Javier Bardem as the lovable cherries on top. F1 doesn’t break any molds; but really, did it ever have to? ADRIANO F1 will give you the highs you expect out of blockbuster sports dramas. Director Joseph Kosinski does an incredible job of making the racing sequences feel vibrant and pulse-pounding. There's an inherently easy-to-root-for plot, which for most people, is exactly what you’d want. The story is conventional, which isn't instantly bad, but because the entertaining characters are forgettable, the entire experience feels a lot like a sugar high: in the moment, a ton of fun, but once that moment is over, it's just over. It feels fleeting, but that doesn't erase the successful thrills F1 produced. BODE It’s no surprise that director Joseph Kosinski would continue to follow in Tony Scott’s footsteps after Top Gun: Maverick , as in re-teaming with much of Maverick ’s creative team, he crafts his own Days of Thunder with F1 . This time though, the heights are inconsistent. The racing sequences are truly exhilarating, and its cast is certainly likeable (put Kerry Condon in everything, please). But there isn’t enough shading to its narrative foundation or characterization, making it hard to fully invest in the drama - especially at nearly three hours. It’s fine enough as a piece of escapism, but it could’ve been more.