WITH LOVE AND A MAJOR ORGAN Starring: Anna Maguire, Hamza Haq, Veena Sood, Donna Benedicto, and Arghavan Jenati Director: Kim Albright PRESTON With Love and a Major Organ is a mostly original, dark comedy sci-fi film whose social commentary is something we can all relate to in some way. I will admit, while liking the story overall and agreeing on the dangerous direction our society is heading, I felt a depressive annoyance with the subtle finger-wagging message of embracing artsy carpe diem mindsets and villainizing practicality (but that may just speak to my own traumas). Despite my overly personal digression, this film smartly demonstrates a quirky romanticism that doesn’t stray too far from an ideal whose espousal is one that I really appreciate. NICK There are some parallels between this film and last year's Fingernails , as both are tales of a futuristic way to live, with an eye on finding love and happiness. The main difference is this Anna Maguire-led feature does a much better job telling that story. Although the film doesn’t shy away from difficult questions, it poses them while maintaining a pure sense of optimism that brings a welcome sense of hope with it. This is a well-acted film that should make you chuckle, smile, and restore faith in your ability to overcome obstacles. Depending on your mood, this may be just what the doctor ordered. PAIGE With Love and a Major Organ is a visually striking and distinctive film, but ultimately, it's a boring and uninteresting watch. I had to fight to finish the entire movie because I was losing interest in it so quickly. The characters are clearly unlikable, and the script lacks any sense of urgency or motive to make the audience care about them. Plus, it’s all too obvious and without any depth. All in all, it's a tale that might work fine on paper, but struggles to translate to the big screen. This film was reviewed by Nick, Paige, and Preston as part of Bitesize Breakdown's coverage of the 2024 Canadian Film Fest.

WHAT JOSIAH SAW Starring: Robert Patrick, Nick Stahl, Scott Haze, Kelli Garner, Jake Weber, and Tony Hale Director: Vincent Grashaw QUENTIN Based on the performances and atmosphere alone, What Josiah Saw is decent southern gothic horror. It’s probably even better if you know what to expect going in (which I did not). Namely, that the story structure is practically an anthology. If you don’t know that from the start, everything feels random and unconnected. The first act, which plays like Frailty , gives way to a second act that is reminiscent of Pulp Fiction , which gives way to a third act that’s kinda sorta like American Beauty . It’s very jarring. That said, everything eventually ties together in a mostly satisfying way that is brutal, tense, and deviant. JOSEPH What Josiah Saw has all the moodiness and talent to deliver an engrossing story about familial secrets and horrors of the past, but this southern gothic tale failed to deliver on nearly every aspect, especially with regards to the story. Every time I thought the film was going somewhere, I was mistaken, and whatever point the film was trying to make did not register with me at all. Despite a promising premise, a halfway decent finale, and some beautiful cinematography, the final scene only cemented my distaste for this film that barely managed to keep me interested.

WARFARE Starring: D’Pharaoh Woon-A-Tai, Will Poulter, Cosmo Jarvis, Kit Connor, Finn Bennett, Taylor John Smith, Michael Gandolfini, Adain Bradley, Noah Centineo, Evan Holtzman, Henrique Zaga, Joseph Quinn, and Charles Melton Directors: Alex Garland and Ray Mendoza NICK If we’re just grading on accuracy and realism, then Warfare would be an easy five out of five. This is an immersive, unforgettable sensory experience. That’s the thing, though. It’s more of an experience than a film. There’s no real character development or backstory; no beginning, middle, or end. It’s like an elevated, true-to-life Call of Duty mission, and I mean that with no offense because it is remarkable. Every cast member brings authenticity and poise to their roles (Joseph Quinn's screams will stay with me for some time), but it's the direction from Alex Garland and Ray Mendoza that really makes this thing stand out. ADRIANO At what point do we watch something like Warfare and ask, "is this even a movie?" It admittedly does an excellent job of immersing audiences in the gruelling reality of combat, but still… Truthfully, the sound work, makeup, Alex Garland and Ray Mendoza's direction, and the performances are all effective in really making this an experience. However, that is all this is. An experience. Warfare is nothing more than immersion without real substance, point, or, character development. Very late in the movie, I couldn't help but think, “is this it?" And low and behold, it was. PAIGE Directors Ray Mendoza and Alex Garland may deliver an immersive and polarizing film with stellar sound design that will leave your ears ringing, but overall, Warfare just ends up feeling like a 90-minute Call of Duty mission. With no real plot or arc, its story becomes soulless. The ensemble’s performances are extremely authentic, but there isn’t any characterization with these characters. Frankly, there isn't much at all to take away from this suffocating and harrowing film, so even though it kept me on the edge of my seat throughout the platoon's mission, I couldn't help but feel empty by the time it was over. BODE The best way to describe Warfare is if directors Ray Mendoza and Alex Garland took the D-Day sequence that opens Saving Private Ryan and stretched it out to 95 minutes. It’s as immersive as a film conveying “war is hell” can be, as its visceral brutality is accentuated by its refusal to rely on much in the way of typical cinematic devices like traditional storytelling rules, intimate character details, or a digestible narrative (an almost-deafening sound design, notwithstanding). It’s an unsatisfying experience by design, but I have much respect for it. QUENTIN Warfare is the type of movie that treats the scenario at hand, as opposed to the people on screen, as the main character, providing a wholly immersive battlefield experience through gritty realism and tremendous sound design. As a veteran, I’ve been close enough to similar real-life situations to know Warfare is as close as one can get to confronting the fog of war without actually enlisting. The palpable tension, distressing uncertainty, and jarring what-the-fuck-do-we-do?! chaos — it’s all there for 95 edge-of-your-seat minutes. Fair warning, though… Warfare will be much better on the big screen than at home, and it could be triggering for some combat veterans.

ETERNALS Starring: Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Barry Keoghan, Kit Harington, Salma Hayek, Angelina Jolie, Lauren Ridloff, Don Lee, and Harish Patel Director: Chloé Zhao ADRIANO Eternals isn't a bad movie, but it is a messy one. The script is extremely exposition heavy, and the way it jumps between different time periods can be jarring. There also are numerous moments that could've been cut to make the movie shorter, and director Chloé Zhao's style doesn't really mesh with the MCU. On the plus side, the diverse cast is incredibly strong, especially Gemma Chan and Kumail Nanjiani. Overall, the film makes a clear attempt to escape typical MCU trappings, which is a fantastic step forward, but it's still flawed. It's worth watching to see for yourself. NICK The MCU has become a cinematic juggernaut partly due to the overarching story and distinctive style threading its 25 films (and several shows). The latest entry, Eternals , breaks that mold to the point it barely resembles an MCU entry. This is 100% a Chloé Zhao film, which doesn't work for the most part. The sceneries are vast and the action sequences are fantastic, but they're few and far between. As for the characters, they lack intrigue, while the dialogue contains enough exposition to make Dune blush. Phase 4 has some work to do to reach the heights of its predecessors. AMARÚ Eternals looks beautiful and dreams big. Hopeful themes about humanity run rampant throughout director Chloé Zhao's grand aesthetics and the characters' open-hearted view of Earth (Brian Tyree Henry, Don Lee, and a subtle Angelina Jolie are standouts). Big philosophical swings about life's grand schemes work well, especially when they pit the heroes' beliefs against one another. However, that leads to some cliché one-liners and all-too-convenient plot points, which are saved only by the charming innocence displayed by such powerful beings. Great chemistry helps to elevate the telegraphed exposition, making Eternals a slightly better than average, yet highly rewatchable, MCU addition. JACOB Many things will be said of Marvel's Eternals , but expect none of them to be overtly positive out of the gate. The film is decent... and it looks great in certain scenes... but its emotional tones are often uneven and its pacing is far too outstretched. That said, I did appreciate how different the film felt from typical MCU fare, as it rarely references the other films and stays most concerned with the story it's telling rather than the ones around it. Chloé Zhao’s directorial style fades in and out, but there is enough to enjoy, even on a surface level. QUENTIN Eternals isn't outright terrible, but it's certainly terrible by MCU standards. Aside from a few camera shots that are pure art and two anticipation-generating post-credit scenes, there is very little to rave about. The cast seems mostly uninterested in being involved (Angelina Jolie and Salma Hayek genuinely feel like stunt casting), and there is almost zero on-screen chemistry amongst the ensemble. On top of that, the CGI is periodically shoddy, the characters are dull, and it's generally boring - just... So. Much. Exposition. I appreciate Marvel's effort to expand outside their proven formula, but Eternals is a huge swing and miss.

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.

WEAPONS Starring: Julia Garner, Josh Brolin, Alden Ehrenreich, Cary Christopher, Austin Abrams, Benedict Wong, and Amy Madigan Director: Zach Cregger ADRIANO It doesn't reach the highs of writer/director Zach Cregger's previous horror outing, Barbarian , but Weapons shows that his knack for absurd horror-comedy wasn't a fluke. I don't know if everything that's bubbling under the surface is quite realized beyond its portrayal of community hysteria; however, even if you ignore the subtext, you still have a fun movie that keeps turning up the dial in obscene ways with genuinely shocking reveals that enhance the evolving plot. I certainly need to sit with Weapons longer, but I recognize how much of a unique thrill ride it was, and maybe that's enough. NICK Although I enjoyed parts of Zach Cregger's Barbarian , I was ultimately underwhelmed. The same is true of his latest film, Weapons . Much like Barbarian , there's some greatness (an intriguing story and dynamic camerawork), but once again, my issue is with the sum of its parts. The spooky story is undone by out-of-place (though funny) comedy that undermines the eeriness of the film. Even the well-built mystery stutters a little as the film transitions into its bonkers final act – an act I enjoyed, but with some serious tonal whiplash. Now that I know what it is, perhaps a revisiting is necessary. ROBERT A big debate recently has been about the lack of true comedy lighting up silver screens, but what has been apparent is that a number of funny voices opt for genre filmmaking. Such filmmakers have extensive comedy backgrounds, and that is true of Zach Cregger and Weapons . I am one for tonal shifts if they don’t inspire dissonance, and I think there is a juxtaposed realness with wackiness that Weapons hops to and from expertly. The same is true of its parallel seriousness and comical ridiculousness. Cregger blends a powerful cast with smart pacing and vibrant cinematography; run towards it at all costs. PAIGE Weapons is a thrilling and memorable rollercoaster of a ride that will have you gripping the edge of your seat throughout. The film’s atmosphere is certainly tense and moody, but it also isn’t afraid to have a fun sense of humor. Its episodic storytelling structure allows each of the characters to shine and enhances the film’s overall approach to the narrative. While the film’s buildup is more compelling and satisfying than the ultimate payoff, which lacks substance, I can’t help but feel that after his sophomore outing, writer/director Zach Cregger has solidified himself as a must-watch filmmaker. QUENTIN When it comes to pure, edge-of-your-seat horror-suspense engagement, I’m not sure there are many titles that compare to Weapons . The Pulp Fiction -ish story structure kept me wondering what was coming next with wide eyes, and while the performances are exactly as good as they need to be, they ultimately take a backseat to Zach Cregger's writing and direction. After this and Barbarian , he’s clearly “that dude" for new horror (maybe moreso than Jordan Peele). Admittedly, the ending gets a little too comical, presenting a tonal whiplash that could break your neck, but 99 percent of a masterpiece is still goddamn good. KATIE Weapons fires on all fronts. It’s brimming with ideas, full of incredible performances, particularly the young Cary Christopher (one of the best child actors I’ve ever seen in a horror film), and most importantly, is genuinely scary. The terrifying imagery will undoubtedly haunt me for weeks to come, and the jump scares feel earned rather than cheap, effectively speaking to modern American societal fears in this spine-chilling fairy tale. It kept me perpetually tense and desperate to know what was around each corner, and I found that the dark comedy perfectly complemented the horror, creating an even more unsettling experience. BODE It’s obvious how large Paul Thomas Anderson’s Magnolia looms over Zach Cregger’s latest film, Weapons . That go-for-broke inspiration is apparent in almost every frame, right down to its insane close. It’s a big showcase of his impressive skills and clear interests as a filmmaker. It’s almost a shame that - for as entertaining as it is throughout - it doesn’t leave you with more to chew on, especially in comparison to its main inspiration (or even Cregger’s own Barbarian , which did more with less). Still, studio horror is in a good place if we keep getting big swings like this. AMARÚ Zach Cregger has a masterfully compelling handle on his direction, with imagery and camerawork that really puts the audience into his stories. With that said, Weapons is a clusterfuck. A hodgepodge of frustration, confusion, intrigue, humor, bewilderment, mystery, and captivating writing (also by Cregger) that had my love of puzzle-piece storytelling battling my exasperation with stupid people doing stupid things for stupid reasons in horror films. Which side won depended on how the film landed its multi-point-of-view conundrum, and while I still have questions and it’s a bit too long, I can’t deny that I left satisfied.

MASH VILLE Starring: Park Jong-hwan, Jeon Sin-hwan, and Jin Ye-sol Director: Hwang Wook This film has been reviewed by Nick and Quentin as part of Bitesize Breakdown's coverage of the 2024 Fantasia International Film Festival. NICK I don't partake in hallucinogenic drugs, but I can only imagine that's how director Hwang Wook wants you to watch this film. Mash Ville is bright, loud, campy, frenetic, and all over the map in a way that would make SNL 's Stefon blush. This film has everything: stylish cult members, poison liquor, shotguns, drunk cops, fake corpses, real corpses, the purest love... There's barely a coherent story here, and pretty much everyone in this thing is a cartoon character brought to life… but damn if I wasn't entertained. Mash Ville likely falls into the "so bad it's good” category, but I’ve certainly seen worse this year. QUENTIN Mash Ville is one of the most “extra, try-hard” movies I’ve ever seen. This chaotic mashup (get the title?) of comedic, western, thriller, crime drama, and action sensibilities makes no damn sense, nor is it remotely funny. Admittedly, I’m of the opinion that comedy is a genre that doesn’t work with subtitles because so much relies on timing, but still… I generally had no idea what was going on. I suppose that could mean something was lost in translation, but other than the Ennio Morricone-inspired score, I can’t call anything about Mash Ville watchable. How Hwang Wook won Best Director for this, I’ll never know.