Review by Chadd Clubine

Co-written and directed by Jonah Hill and featuring an ambitious all-star cast, this film should work. It doesn’t—at least not in the way it intends. The outcome feels heavily shaped by Hill’s own experiences with fame, and like Jay Kelly, it aims to humanize celebrities by reminding us they’re just people. It’s a compelling premise, but the execution never rises above that initial idea. Instead, the film plays like a collection of half-formed thoughts, never fully developed or meaningfully resolved. It resembles a weak thesis—full of intention, but lacking a clear argument or conclusion, leaving little for the audience to take away. Even at just 84 minutes, it somehow feels overstretched, as if it lingers far longer than it deserves.

The most disappointing element here is Jonah Hill’s own performance. He proves to be far less effective when directing himself, and based on this, it’s a pairing that doesn’t play to his strengths. With another self-directed, lead-role project on the way, it’s hard not to feel a bit apprehensive. What makes this misstep more surprising is that it follows the genuinely strong Mid90s and Stutz—films that showed a much more confident and focused filmmaker. Here, the issues run deeper, from awkward, unnatural dialogue to character behavior that never quite feels authentic. Ironically, someone like Adam Sandler might have been a better fit for Hill’s role, bringing a more grounded or nuanced presence. Instead, Hill swings big in his performance and completely misses the mark.

The film’s visual aesthetic is certainly a choice—one that initially looks intriguing in trailers and stills but quickly falls apart in execution. Rather than creating a euphoric or stylized atmosphere, it often comes across as goofy and out of place. The look is so distracting during dialogue-heavy moments that it undercuts whatever emotional or thematic point Hill is trying to convey. It’s especially frustrating given the backing of Apple TV, which suggests the resources were there to do something far more cohesive and polished. If the film was going to commit to such a distinct style, it needed to fully lean into it. Instead, there’s a noticeable imbalance: exterior shots frequently look rough and unconvincing, while interior scenes are merely passable. That inconsistency only widens the gap between the film’s ambitions and what actually ends up on screen.

At just 84 minutes, the film might seem brisk on paper, but in practice, it feels far longer. Weighed down by an overload of half-developed ideas—both thematic and comedic—it drags instead of moves. There are occasional flashes of intrigue, some of which are buoyed by Reeves’ natural likability, but even that can only do so much. The film never convincingly allows his character to feel genuine emotional pain, leaving those moments hollow and unearned. Comedically, it fares even worse. Not a single joke truly lands, and when the film reaches for humor, it often relies on Hill leaning into an exaggerated, grating performance that comes off as more irritating than funny.

The cast is undeniably stacked, which raises an obvious question: what did everyone see in this script? At times, it feels less like a deliberate ensemble and more like a group of friends signing on out of loyalty rather than conviction. Martin Scorsese, in particular, feels miscast and unconvincing, as if his involvement is more a returned favor after Hill’s role in The Wolf of Wall Street. Cameron Diaz’s return to acting is similarly underwhelming—an unfortunate and undeserved stumble given her long absence. Meanwhile, Matt Bomer does what he can to elevate the material, but the writing and direction work against him, repeatedly leaving the audience wondering why his character is there at all.
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Overall, Outcome isn’t just a disappointment—it’s one of the worst films of the year. It certainly isn’t a reason to subscribe to Apple TV+ if you haven’t already, especially when the platform offers far stronger content. Whatever spark Jonah Hill once showed as a filmmaker feels absent here, replaced by a project that never finds its footing. At the very least, the cast remains likable enough that this misfire is unlikely to do any lasting damage to their careers.

Outcome streams on Apple TV April 10th!

Review by Chadd Clubine

Don’t be fooled—this is very much a new adaptation of Hamlet. It’s easy to confuse it with last year’s Hamnet, which, somewhat ironically, also stars Joe Alwyn, but the two are entirely different. For a story that has been revisited countless times, this version feels refreshingly modern, in the same spirit as Baz Luhrmann’s Romeo + Juliet. Despite the familiarity of its title and plot, what truly sets this film apart—and makes it worth watching—is Riz Ahmed’s compelling performance in the lead role.

There’s something enduring about Shakespeare’s work—it continues to feel timeless no matter the era. By bringing the source material into a modern setting, the film underscores just how relevant and revered his writing remains today. That said, for viewers unfamiliar with Shakespeare, the language and style may feel challenging, making it harder to fully grasp what’s happening. Still, for many, the experience offers a chance to see firsthand how his stories transcend time and to develop a deeper appreciation for his work. While Riz Ahmed delivers a powerful lead performance and the film offers a distinct perspective, it ultimately doesn’t venture far beyond what has already been done—especially for those who already know the story.
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When you watch a play, there are no second chances—no cuts, no resets. The actors must fully inhabit the material, carrying it forward in real time. This new adaptation of Hamlet could have easily gone to a less prominent name, but Riz Ahmed takes on the project as both actor and producer, clearly demonstrating his deep respect for the source. Through extended, unbroken takes of Ahmed delivering lengthy monologues, the film captures something close to the immediacy of live theater. He brings a remarkable emotional intensity to the role, one that not only elevates the performance, but also deepens the sense of just how timeless Shakespeare’s work truly is.

The cinematography often feels like a deliberate and inspired choice. For much of its runtime, the film embraces a distinctly cinematic style, demonstrating how Shakespeare’s work can move beyond the stage and thrive on the big screen. There are several striking sequences throughout, including a standout moment in which Ahmed drives on the wrong side of the road—easily one of the film’s most memorable scenes. That said, the film occasionally betrays its limitations. In its quieter, more intimate moments, it can feel somewhat low-budget, and those scenes don’t always give the dialogue the weight it needs. For material like this, where language carries so much of the impact, the lack of intensity can dull its effectiveness.

For a story this familiar to stand out, it needs a clear and distinctive vision—and the film finds that, to an extent, through Aneil Karia’s direction. Each scene, whether large in scale or quietly intimate, feels purposeful in reinforcing the film’s themes. From Hamlet encountering his father’s ghost to more grounded, visceral moments like Hamlet grabbing a knife, every choice carries emotional weight. Given its contemporary setting and approach, the film might have benefited from a different title—one that signals a looser, more interpretive take on the material. Retaining elements of Shakespeare’s dialogue while more boldly reimagining the story for a modern audience could have helped it feel fresher. As it stands, the film could have pushed further in terms of originality to better distinguish itself, especially in an era where reinterpretations and remakes are so common.
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Overall, this new version of Hamlet features one of Riz Ahmed’s strongest performances to date, as he pours an extraordinary amount of heart and soul into the role. The modern approach reinforces just how timeless Shakespeare’s work remains, while offering a fresh visual lens through which to experience it. Although the film doesn’t always achieve the level of originality needed to fully set itself apart, Ahmed’s performance alone gives it a distinct and compelling edge.

Hamlet (2025) is in theaters April 10th!

Review by Chadd Clubine

The Drama promises one of the decade’s boldest twists—so much so that its marketing practically revolves around it. It’s hard not to feel a sense of curiosity about what the reveal could be, and how performers as skilled as Zendaya and Robert Pattinson will navigate it. Directed by Norwegian filmmaker Kristoffer Borgli, the film marks his second American production following 2023’s Dream Scenario. There are intriguing thematic throughlines connecting the two works, ones that seem to reflect aspects of Borgli’s own perspective, making it difficult to discuss them without brushing up against spoilers. Still, there’s plenty to unpack in terms of the film’s craftsmanship and how audiences are likely to respond.

Films like The Drama are a strong case for more restrained, strategic marketing. Trailers today often reveal far too much, but here, the promise of a major twist is essential to the film’s appeal—without it, the experience simply wouldn’t land the same way. That said, the very thing that draws audiences in is also likely to spark controversy once the twist is revealed. Adding to the confusion, theaters like AMC have been positioning the film as a romantic comedy. In reality, it plays more like an absurdist dark comedy, laced with offbeat humor and an undercurrent of thriller-like tension. The result is something that feels wholly distinct from most recent releases, while still echoing the influence of the French New Wave. Whether audiences embrace it or reject it, The Drama seems destined to leave a lasting impression—one of those films people will continue to debate and dissect for years to come.
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Having a filmmaker from outside the United States gives the film’s central reveal an added layer of intrigue. Without spoiling it, Borgli seems less interested in the twist itself than in what it reflects—how an ongoing cultural anxiety might appear from an outsider’s perspective, and how easily those anxieties can spiral into something distorted or even unreal. While the premise suggests the revelation stems from Zendaya’s character’s past, the film is really shaped by how Pattinson’s character processes it. His reaction becomes the narrative engine, guiding the audience through the emotional and psychological fallout. There are also clear indications that his character struggles with OCD, particularly in the way he fixates on and attempts to rationalize this new information. Even if the film doesn’t fully center that aspect, it succeeds in conveying a more universal idea: that people are not defined by who they once were, or by the thoughts they’ve had.

Zendaya and Pattinson have both come a long way in their careers, and this film makes it clear why this is just the first of their three collaborations this year. Their performances carry echoes of classic pairings in films like When Harry Met Sally and The Graduate, marked by a subtlety that feels both controlled and deeply authentic. There’s a restraint to their work here that makes it all the more compelling—nothing is overplayed, yet every moment feels lived-in and genuine. It’s the kind of acting that rewards repeat viewings, revealing new layers each time. More importantly, their chemistry is completely convincing, grounding the film’s more abstract ideas in something emotionally tangible.
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The film isn’t without its shortcomings, some of which may play better on a rewatch. While the central twist is undeniably shocking, it doesn’t feel as fully explored as it could be. At times, the narrative drifts into subplots that don’t quite pay off, creating a sense of momentum that stalls rather than builds. There are also moments where supporting characters make choices that feel inconsistent, particularly in how they respond to key revelations. Although the ending clearly conveys the film’s core ideas, its brisk 106-minute runtime and relentless pacing make it feel over almost as soon as it begins.

Overall, we need more films like The Drama—projects that resist overexposure in their marketing and still leave audiences with something meaningful to sit with once the credits roll. Its shocking, controversial twist is bound to spark conversation, for better or worse. Zendaya and Pattinson are operating at the top of their game, delivering performances that anchor the film’s more daring choices. Even with its flaws, the brisk pacing and resonant themes make this one that’s hard to ignore—and even harder to forget.

The Drama is in theaters now!

Review by Chadd Clubine

The Super Mario Galaxy Movie is a genuine surprise, building on the first film while smoothing over many of its shortcomings. Though the sequel isn’t without its flaws, they’re far less noticeable this time around. At a brisk 90 minutes, the film moves at a lively pace, making it easy to stay fully engaged from start to finish. With the world already established, the sequel confidently dives deeper, delivering more of what fans have been hoping to see. While the original succeeded by occasionally embracing that spirit, this installment commits to it completely, resulting in a more consistent and satisfying experience.

The film takes a while to get going, but once it does, it never slows down. When it comes to a sequel, it should be a continuation, but still feel like its own thing. That’s how this film feels. Much like the first film, this one still has its cliches in the way it tries to invest viewers emotionally and in how it tries to remind you of what happened in the prior film. On top of that, there does seem to be some new added lore that makes it a bit confusing to start off with, and understanding where the film will go from there. Fortunately, it not only makes sense later on, but it gives the characters more to do.

The film juggles two parallel storylines: Mario and Luigi team up with the newly introduced Yoshi on one path, while Princess Peach and Toad take on another. This split gives each character more room to shine, naturally setting the stage for their stories to converge later on. Yoshi easily steals the show—while his introduction feels a bit tacked on and raises a few plot holes, his presence brings a lot of energy and fun to the adventure. Meanwhile, Princess Peach is given more depth and agency, with her actions playing a crucial role in the story and offering a stronger point of connection, especially through both her combat abilities and her narrative importance.

The animation is just as strong as in the first film, but this time it stands out even more thanks to the dynamic camerawork. The movie frequently pushes into what feels like extended, one-take sequences, adding a sense of momentum and immersion. Rather than relying on a single standout action set piece, it delivers several, each helping to keep the energy high throughout. Combined with vibrant animation, it reinforces why this franchise works so well in animated form. That said, the format occasionally leans too heavily into childish humor that doesn’t always land. But when the film pulls back and embraces jokes that resonate with both kids and adults, it finds a sweet spot that makes it feel like a genuinely all-ages experience.

While the sequel may not deliver as many iconic moments as the first film, it makes up for it with a more consistent level of entertainment and stronger thematic depth. Bowser, in particular, is given meaningful growth, as the story challenges him both as a leader and as a father. Through his relationship with Bowser Jr., the film explores what it means to be a parent and how his choices shape his son’s perspective. At the same time, the developing romance between Mario and Princess Peach is clear without feeling overbearing, adding a light emotional thread that never comes across as forced.
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Overall, The Super Mario Galaxy Movie feels like a sequel that genuinely took the first film’s criticisms to heart, delivering something more refined and truer to the spirit of the games. It stands well on its own, making it easy for newcomers to jump in without needing to revisit the original. Yoshi emerges as the clear MVP, while Princess Peach is given far more depth and agency, making her an even more engaging and relatable presence. Even when the humor doesn’t always land, the film more than compensates with its stunning animation, dynamic action, and stronger thematic focus, cementing it as one of the year’s most surprising standouts so far.

The Super Mario Galaxy Movie is in theaters April 1st!

Review by Chadd Clubine

Anytime Zazie Beetz appears in a project, it instantly feels worth watching. She remains one of the most underrated actresses working today, consistently stealing the spotlight regardless of the size of her role. Thankfully, this time she’s been given a true leading part—one that fully showcases her range and charisma—and hopefully opens the door to many more opportunities at the forefront.

The film’s opening initially feels like a familiar cliché we’ve seen many times before. Given the true direction of the story, starting this way not only stretches the runtime, but momentarily pulls focus from the central plot. While its purpose becomes clearer later, the film might have been stronger had it jumped straight into the core narrative. That said, it eventually circles back to the opening in a way that justifies its inclusion—one of the rare instances where a flashback feels necessary without relying on forced exposition.
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The film’s marketing does an excellent job of making it feel like a must-see, largely because of how much it holds back. But stripped of that mystery, the simplest way to describe it is this: imagine if Quentin Tarantino directed The Raid. The result is absolute chaos—in the best way. From its inventive camerawork to its unflinching violence, the film feels wildly unrestrained. Director Kirill Sokolov emerges as a bold new voice in the action genre, one who never settles for anything less than his vision. The camera transforms tight, confined spaces into something dynamic and expansive, while the brutality is so sharp and surprising that it feeds directly into the film’s dark, offbeat humor. The film is packed with inventive action set pieces that push the genre forward, carving out something fresh and distinctly its own within the action landscape.

While the film’s opening may initially feel like a cliché, it ultimately reveals a surprisingly heartfelt story about a sister trying to make amends by saving her sibling from something far more dangerous than anything she’s faced before. By sending Beetz’s character to prison, the film cleverly equips her with the skills she’ll need for that rescue. It does take some time for Myha’la to appear as her sister, but once she does, their dynamic comes into sharp focus, grounding the emotional core of the story. Even with limited screen time, the film effectively builds their relationship, making you invest in their bond and root for Beetz to succeed—especially as the true nature of the villains begins to unfold.

The third act is still undeniably fun, but it begins to tip into excess, becoming a bit too ridiculous for its own good. While the visuals remain striking, the heightened goofiness makes it harder to stay emotionally invested in what’s unfolding. There’s also a key reveal that aims for impact, but doesn’t quite land, largely because it never feels like the outcome is truly in doubt. With a more developed villain and a greater focus on tension and genuine surprises over humor, the film could have delivered a much stronger, more satisfying finale.
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Overall, They Will Kill You delivers on its promise. The narrative can feel a bit uneven at times, but it finds its strength in the emotional throughline between Beetz and Myha’la’s characters. The action is the true standout, packed with set pieces that, while clearly inspired, still feel inventive and creatively executed. At just 90 minutes, it’s time well spent.
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They Will Kill You is now playing in theaters.