TOGETHER Starring: Dave Franco, Alison Brie, and Damon Herriman Director: Michael Shanks NICK As I stated in my Fantasia preview HERE , I was looking forward to Together . It had received positive buzz, and the marketing really played into the body horror. While that is certainly an aspect of the film, I wish it was more prominent, as this was visually much tamer than I'd expected. It’s more focused on the relationship challenges of Dave Franco and Alison Brie's Tim and Millie. In that sense, it works well as both give solid performances, but in the horror sense it leaves a little to be desired. It’s fine but I wanted this one to make me squirm in my seat. ADRIANO Slight bumps called The Monkey and Opus aside, 2025 has been a really solid year for horror, and Together is here to continue that trend. With its gnarly concept and gleefully deranged tone, the film offers the kind of darkly funny body-horror thrills you would want. Where the movie loses me is with the obvious codependency metaphor. As good as real-life couple Dave Franco and Alison Brie are, the movie doesn't quite get to the root or do anything particularly interesting with its ideas. Still, that doesn't in any way diminish the thrills you'll endure. ROBERT Together tells a classic story: boy (Dave Franco) meets girl (Alison Brie), boy and girl attempt to salvage their relationship, and then boy and girl must unravel a mystery before both their bodies merge into one… a tale as old as time. Together delves into the complex nature of adult relationships, looking at codependency and losing self-identity, while holding a creepiness factor and macabre humor that go hand-in-hand. One minute I’m shifting uncomfortably in my seat, and the next I’m belting out in laughter. Both Franco and Brie understand how to spotlight toughness in a partnership, and that understanding makes this film entertaining. PAIGE Together is a gnarly body horror film that is elevated by the performances of real-life couple Dave Franco and Alison Brie. Their chemistry is undeniable and breathes life into this film, giving it layers of not only terror but also romance and humor. While its themes of codependency may be a bit on the nose, this absurd flick is certainly a great date night movie for couples who love horror movies. The atmosphere throughout the movie feels claustrophobic and unsettling. Director Michael Shanks crushes it in his directorial debut, quite literally taking inspiration from the line in The Substance , “you are one.” QUENTIN Although a little too obvious, Together is an excellent metaphor for codependency and the feeling of relationship complacency. The chemistry between real-life married couple Dave Franco and Alison Brie holds the movie together through a slow start before director Michael Shanks drops in a few solid jump scares and the twisted body horror. All involved are especially adept at knowing when to lean into the dark humor of the situation as much as the terror. Even though it goes off the rails a bit towards the end, including a final shot I don’t exactly love, Together is one of 2025’s best horror offerings.

MARLOWE Starring: Liam Neeson, Diane Kruger, Jessica Lange, Adewale Akinnuoye-Agbaje, Alan Cumming, Danny Huston, Ian Hart, Colm Meaney, Daniela Melchior, and François Arnaud Director: Neil Jordan JOSEPH While pretty to look at, Marlowe is just all around bad, and I don’t understand what went wrong with such a talented cast. The dialogue is so creatively bankrupt that it borders on parody, as does the overuse of slurs and outdated terms. Even the editing is confusing, as this noir-based film has a warm and naturalistic lighting tone, something I don’t think I’ve seen in any detective film save for maybe Who Framed Roger Rabbit? I just don’t get it. Marlowe makes a disappointing centennial entry in Liam Neeson’s catalog. The only good thing about it is the poster. QUENTIN While I love hard-boiled detective noirs, and it’s nice to see Liam Neeson do something other than another bargain bin action thriller, Marlowe simply doesn’t hit the mark. Admittedly, the production design looks nice, enveloping the viewer with familiar genre vibes, but said vibes also feel incredibly hollow, like cheap cosplay or a 1930s-themed escape room. Unfortunately, the acting, dialogue, and central mystery range from abysmal to barely tolerable, which only adds to the film’s insincerity. Frankly, it just doesn’t seem like anyone was really trying here. At one point, Neeson’s character says, “I’m getting too old for this.” You and me both, buddy. JACOB Despite dressing itself as one and attempting to behave like one, Marlowe doesn’t seem terribly interested in actually being a true noir piece. Apart from its production design, overly and needlessly convoluted dialogue, and a couple of good costumes, everything is simply set up to look like film noir while the direction refuses to commit to the genre. There’s no style, no pizzazz. Thankfully, it does eventually find its footing after a thoroughly choppy first act, and the criminally underused Jessica Lange provides some weightiness with her screen time, but for Liam Neeson’s 100th movie, it couldn’t be less remarkable. DARRYL Marlowe will be a film that's easily forgotten by the end of March. A convoluted story, presented to the audience in such a confoundingly bad manner, is only minimally saved by Neil Jordan's direction and the production design. Liam Neeson, Diane Kruger, and Jessica Lange do the best they can with the milquetoast screenplay but, thanks in large part to writer William Monahan, what could've been a sumptuous feast of a story ends up being little more than cold broth. It’s a poor excuse for a neo-noir, and most of the usual trappings are present without a framework to make effective use of them.

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.

WOLF MAN Starring: Christopher Abbott, Julia Garner, Matilda Firth, and Sam Jaeger Director: Leigh Whannell NICK With Wolf Man , director Leigh Whannell tries his hand at another classic monster, but he isn’t able to achieve the depth he did with The Invisible Man . It’s not that he doesn’t try to inject new ideas – there’s something particularly interesting he does in regards to a character's POV – but everything feels a little underbaked, like you’re watching a first draft over a completed product. Where I will give props is to the make-up department, who makes the most of what is (nowadays) a small budget. Unfortunately, looks aren’t everything. ADRIANO After writer/director Leigh Whannell's last film, The Invisible Man , I was excited to see what he would do with Wolf Man . Sadly, for the majority of the movie, I found myself longing for the film’s very apparent lost potential, especially with some of its interesting creative decisions. However, the movie is so rushed and cheap with its horror, that I felt none of its emotional tension when it tried to dig into generational trauma. Truthfully, it kinda feels like an hour was missing from this. Wolf Man is simply the one thing a horror movie should never be: dull. KATIE As a fan of Leigh Whannell’s The Invisible Man and his work on successful horror franchises, Wolf Man was one of my most anticipated films of 2025, especially since Whannell commented that he was inspired by his favourite 80s body horror classics. However, the film lacked the gore and scares that I was promised. On the bright side, Christopher Abbott’s performance is great, and the transformation scenes are decent, but the patriarchal trauma, slash toxic masculinity angle lacked depth, and the reactions of his family to his metamorphosis were oddly unflustered. Despite some interesting visuals and practical effects, Wolf Man lacks any real bite. PAIGE Although Wolf Man delivers on gnarly body horror and terrifying imagery, the movie lacks the originality to differentiate itself from other werewolf tales. Director Leigh Whannell's previous “monster” movie, The Invisible Man , was a success because it took a fresh approach to the subject and reinvented it. This time around, he tends to take a more direct approach that isn't groundbreaking for the genre, which was a little disappointing. Overall, the film's ideas and plot seemed half-baked. Don't get me wrong, the distortion scenes were fascinating to witness, the practical makeup was stunning, and Christopher Abbott’s performance is great, but I needed more for this film to stand out from the pack.

SILENT NIGHT, DEADLY NIGHT Starring: Rohan Campbell, Ruby Modine, Mark Acheson, David Lawrence Brown, and David Tomlinson Director: Mike P. Nelson ROBERT Campy horror movies beget campy horror movies, so attempting to do anything but modernize a classic 1980s slasher like Silent Night, Deadly Night would be a travesty. Fortunately, Mike P. Nelson understood the assignment overall because the ridiculousness and mood of this remade version kept the spirit of the original alive. I was nervous in the first half, where it seemed like Billy’s (Rohan Campbell) trauma was being taken too seriously, but once the second act hit, it ramped up to its peak level. There were Easter Eggs for fans, but you can enjoy it without prior knowledge of the franchise. Naughty or nice? Definitely nice. KATIE I haven't seen the original Silent Night, Deadly Night films, so I'm judging the 2025 version completely on its own merits. Considering this is the second modern reboot of the 1980s Christmas slasher, I had so much fun with it. It’s definitely over-stuffed, with an unconventional but convoluted romantic plot at the centre, but it also has delightfully bloody, over-the-top violence, good performances, and a particularly enjoyable nazi-murdering set piece. It knows it's silly, but also tries to do something different and have fun, albeit not always successfully. BODE Director Mike P. Nelson first came on my radar via his 2021 reboot of Wrong Turn , a film that I thought managed to breathe some gnarly new life into a usually junky franchise, and I hoped that he could pull the same trick twice with Silent Night, Deadly Night . However, while the ridiculousness of the original cult slasher remains, to the point where it even adds a supernatural element, it’s severely lacking in energy and certainly in terms of edge. Even by its own trashy standards, this is still somehow disappointing.

FRESH Starring: Sebastian Stan, Daisy Edgar-Jones, Jojo T. Gibbs, Dayo Okeniyi, and Charlotte Le Bon Director: Mimi Cave NICK We’re only in March, but between Fresh and Pam & Tommy , Sebastian Stan is here to make 2022 his year. This film, which explores the dark potentials of dating in the modern world, is another outlet for Stan to flex his acting chops. It’s so evident how much fun he has in his roles, and that only enhances his performance as Steve. He’s joined by Daisy Edgar-Jones, who is starting to make a name for herself, and the two have such a natural chemistry. It’s a difficult film to discuss spoiler-free, but Fresh is great. Go in with as little information as possible. JOSEPH Fresh is absolutely wild and insane. I went in with virtually no expectations and was thrilled. It’s such a fun film to watch thanks to the twists and turns that keep you constantly guessing what’s going to happen next. Sebastian Stan, in particular, gives such a bizarre performance, but it’s a flawless one. Daisy Edgar-Jones is a great final girl too, inspiring you to root for her throughout the film. If there’s any real flaw, it’s that Fresh ends with a few unanswered questions, but nothing you can’t forgive. Other than that, it’s good, bloody fun. PAIGE Director Mimi Cave makes a spectacular meal out of the horrors of modern dating in her brand new film Fresh . Daisy Edgar-Jones and Sebastian Stan give superb performances and are electric together as the film’s central duo. Meanwhile, Cave brings the film stylishly to life, leaving the audience uncomfortable and on the edge of their seats craving more (not to mention gifting us a killer soundtrack). If you like dark and twisted horror comedies, then this flick will quench your appetite! QUENTIN For the first half hour, Fresh is dripping with tension as you try to figure out what Steve’s (Sebastian Stan) game is. However, the 30-minute mark is when the opening credits roll (yes, 30 minutes into the movie), the movie reveals what’s what, and the entire thing fizzles out. It’s hard to articulate its issues without entering spoiler territory, but just know that you’ve seen this basic story several times before and it mostly plays out exactly like you’d expect. To his credit, Stan seems to be relishing his role, but Fresh is a boring entry in an overplayed and hard-to-make-original genre.

THREE THOUSAND YEARS OF LONGING Starring: Idris Elba and Tilda Swinton Director: George Miller JACOB I’m not sure if I liked Three Thousand Years of Longing , but I’d certainly recommend it to anyone who asked. George Miller’s fantasy odyssey is constantly grappling with interesting ideas surrounding story, life, desire, and purpose; however, its presentation isn’t as fulfilling as it hopes to be. Idris Elba and Tilda Swinton have great chemistry, and the film is always engaging, but its adherence to lengthy flashbacks removes the audience from the things that work best. There is much to admire…the costuming, the design, the look of it all…but not much to fall in love with. ADRIANO Three Thousand Years Of Longing definitely looks great, and it also has some original concepts that are buried underneath a whole bunch of nonsense. However, writer/director George Miller’s latest sees him having full creative freedom, and, unfortunately, that freedom is wasted on a script full of underdeveloped characters and plot points. I genuinely couldn’t tell who I was supposed to root for or what the objective was, which are two pretty important aspects of a movie. And the third act? My God. I’m not exaggerating when I say it gave me whiplash like nine times. It’s very disappointing, to say the least.