Nigel Stone was the thing I kept watching in They Shall Not Grow Old (2018). I like the idea of the performance more than the full result. I would not call it bad, just not as sharp as it could have been. The quieter stuff works better than the bigger beats. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. I can see someone else being kinder to it, but I did not fully get there.
Kyryll Sobolev gives this role a little extra shape without making a big show of it. A couple of tiny timing choices really stuck with me. It is the kind of performance that quietly makes the movie sturdier. There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. That is the part I kept thinking about after the movie ended.
I came away thinking about Ali Fikry's work as Timo more than I expected. It feels like the role needed another layer that never quite showed up. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
Skylar Morgan Jones was the thing I kept watching in A Self-Induced Hallucination (2018). There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. A couple of tiny timing choices really stuck with me. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Clara Bernadeth fits into Kapan Pindah Rumah? (2021). The performance does the job, but not much more than that. It feels like the role needed another layer that never quite showed up. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
Kathrine Gordon gives this role a little extra shape without making a big show of it. It never really locked in for me. The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Claudio Zulian's work as Original Music Composer more than I expected. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. There is a nice lived-in quality to it, nothing too forced. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
Munish Bhardwaj gives this role a little extra shape without making a big show of it. I bought the character pretty quickly, which is not always easy in this kind of film. It is the kind of performance that quietly makes the movie sturdier. There is a nice lived-in quality to it, nothing too forced. A couple of tiny timing choices really stuck with me. It is less about one scene and more about the overall aftertaste.
Jane Tattersall gives this role a little extra shape without making a big show of it. I kept waiting for a more specific angle on the character. The performance does the job, but not much more than that. It never really locked in for me. It feels like the role needed another layer that never quite showed up. A few choices felt pushed, and that pulled me out of the scene. That is the part I kept thinking about after the movie ended.
Digbeu Jean Cyrille gives this role a little extra shape without making a big show of it. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. Not the whole movie, obviously, but it helps a lot.
David Z. Cohen gives this role a little extra shape without making a big show of it. I like the idea of the performance more than the full result. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. The quieter stuff works better than the bigger beats. That is the part I kept thinking about after the movie ended.
Alex Wolff was the thing I kept watching in Magic Farm (2025). The quieter stuff works better than the bigger beats. Some scenes click, some just sit there. I would not call it bad, just not as sharp as it could have been. I like the idea of the performance more than the full result. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Monika Krzanowska's work as Sound more than I expected. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. It is less about one scene and more about the overall aftertaste.
I came away thinking about Morgan McDermott's work as 2D Supervisor more than I expected. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is less about one scene and more about the overall aftertaste.
Jaroslav Mottl was the thing I kept watching in Klíč svatého Petra (2023). There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. A couple of tiny timing choices really stuck with me. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Eddie Campbell fits into Texas @ Château d'Hérouville (2023). A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
Darleen Stoker gives this role a little extra shape without making a big show of it. The performance does the job, but not much more than that. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Corey Cott fits into Butlers in Love (2022). The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. That is the part I kept thinking about after the movie ended.
Felix Grimm gives this role a little extra shape without making a big show of it. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. It is less about one scene and more about the overall aftertaste.
I came away thinking about Christelle Conan's work as Executive Producer more than I expected. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
Connor McFarlane gives this role a little extra shape without making a big show of it. I would not call it bad, just not as sharp as it could have been. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Yannick Lawry's work as Nick more than I expected. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. That is the part I kept thinking about after the movie ended.
David Bennent gives this role a little extra shape without making a big show of it. There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. It is the kind of performance that quietly makes the movie sturdier. That is the part I kept thinking about after the movie ended.
Hector Calma gives this role a little extra shape without making a big show of it. I kept waiting for a more specific angle on the character. It never really locked in for me. It feels like the role needed another layer that never quite showed up. The performance does the job, but not much more than that. I can see someone else being kinder to it, but I did not fully get there.
Derek Ixer was the thing I kept watching in Lara Croft: Tomb Raider (2001). There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. Not the whole movie, obviously, but it helps a lot.
There is something pretty interesting about how Yogendra Tiku fits into Fan (2016). A few choices felt pushed, and that pulled me out of the scene. It feels like the role needed another layer that never quite showed up. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
Amar P. Kalwani gives this role a little extra shape without making a big show of it. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. That is the part I kept thinking about after the movie ended.
Michael Tavera gives this role a little extra shape without making a big show of it. The performance does the job, but not much more than that. It feels like the role needed another layer that never quite showed up. It never really locked in for me. I can see someone else being kinder to it, but I did not fully get there.
Barrie Gower was the thing I kept watching in Life of Pi (2012). The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. Some scenes click, some just sit there. It is less about one scene and more about the overall aftertaste.
Steven Knight was the thing I kept watching in Spencer (2021). I like the idea of the performance more than the full result. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. I can see someone else being kinder to it, but I did not fully get there.
Octavius J. Johnson was the thing I kept watching in 59 Seconds (2018). Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. The quieter stuff works better than the bigger beats. I can see someone else being kinder to it, but I did not fully get there.
There is something pretty interesting about how Rati Pandey fits into Porus (2017). I like the idea of the performance more than the full result. I would not call it bad, just not as sharp as it could have been. The quieter stuff works better than the bigger beats. It is solid enough, but there are moments where it feels a bit on autopilot. It is less about one scene and more about the overall aftertaste.
Shen Jie gives this role a little extra shape without making a big show of it. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. The quieter stuff works better than the bigger beats. It is less about one scene and more about the overall aftertaste.
Jarkko Lahti gives this role a little extra shape without making a big show of it. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. Not the whole movie, obviously, but it helps a lot.
There is something pretty interesting about how Greta Antoine fits into Weird Stories (2019). A few choices felt pushed, and that pulled me out of the scene. I kept waiting for a more specific angle on the character. It never really locked in for me. It feels like the role needed another layer that never quite showed up. The performance does the job, but not much more than that. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how Barbara Jonak fits into The Miracle (2024). I bought the character pretty quickly, which is not always easy in this kind of film. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Simon Maddison fits into Halloween (2018). A few choices felt pushed, and that pulled me out of the scene. The performance does the job, but not much more than that. It feels like the role needed another layer that never quite showed up. I can see someone else being kinder to it, but I did not fully get there.
Boomer Tibbs gives this role a little extra shape without making a big show of it. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is less about one scene and more about the overall aftertaste.
I came away thinking about Clara Kim's work as Writer more than I expected. It is the kind of performance that quietly makes the movie sturdier. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. Not the whole movie, obviously, but it helps a lot.
Catherine Feeny was the thing I kept watching in Trainwreck (2015). It feels like the role needed another layer that never quite showed up. It never really locked in for me. The performance does the job, but not much more than that. A few choices felt pushed, and that pulled me out of the scene. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
6/10 for Jessica Otto here, mainly because of how the role plays in the film. I would not call it bad, just not as sharp as it could have been. The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. So the rating is less about one scene and more about the overall aftertaste.
For Happily (2021), Josh Trank feels like a 1/10. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. I kept waiting for a more specific angle on the character. I can see someone else being kinder to it, but I landed lower.
5/10 for Jacek Gąsior here, mainly because of how the role plays in the film. I like the idea of the performance more than the full result. The quieter stuff works better than the bigger beats. I would not call it bad, just not as sharp as it could have been. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. So the rating is less about one scene and more about the overall aftertaste.
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Movie reviews
Nigel Stone was the thing I kept watching in They Shall Not Grow Old (2018). I like the idea of the performance more than the full result. I would not call it bad, just not as sharp as it could have been. The quieter stuff works better than the bigger beats. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. I can see someone else being kinder to it, but I did not fully get there.
Kyryll Sobolev gives this role a little extra shape without making a big show of it. A couple of tiny timing choices really stuck with me. It is the kind of performance that quietly makes the movie sturdier. There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. That is the part I kept thinking about after the movie ended.
I came away thinking about Ali Fikry's work as Timo more than I expected. It feels like the role needed another layer that never quite showed up. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
Skylar Morgan Jones was the thing I kept watching in A Self-Induced Hallucination (2018). There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. A couple of tiny timing choices really stuck with me. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Clara Bernadeth fits into Kapan Pindah Rumah? (2021). The performance does the job, but not much more than that. It feels like the role needed another layer that never quite showed up. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
Kathrine Gordon gives this role a little extra shape without making a big show of it. It never really locked in for me. The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Claudio Zulian's work as Original Music Composer more than I expected. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. There is a nice lived-in quality to it, nothing too forced. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
Munish Bhardwaj gives this role a little extra shape without making a big show of it. I bought the character pretty quickly, which is not always easy in this kind of film. It is the kind of performance that quietly makes the movie sturdier. There is a nice lived-in quality to it, nothing too forced. A couple of tiny timing choices really stuck with me. It is less about one scene and more about the overall aftertaste.
Jane Tattersall gives this role a little extra shape without making a big show of it. I kept waiting for a more specific angle on the character. The performance does the job, but not much more than that. It never really locked in for me. It feels like the role needed another layer that never quite showed up. A few choices felt pushed, and that pulled me out of the scene. That is the part I kept thinking about after the movie ended.
Digbeu Jean Cyrille gives this role a little extra shape without making a big show of it. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. Not the whole movie, obviously, but it helps a lot.
David Z. Cohen gives this role a little extra shape without making a big show of it. I like the idea of the performance more than the full result. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. The quieter stuff works better than the bigger beats. That is the part I kept thinking about after the movie ended.
Alex Wolff was the thing I kept watching in Magic Farm (2025). The quieter stuff works better than the bigger beats. Some scenes click, some just sit there. I would not call it bad, just not as sharp as it could have been. I like the idea of the performance more than the full result. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Monika Krzanowska's work as Sound more than I expected. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. It is less about one scene and more about the overall aftertaste.
I came away thinking about Morgan McDermott's work as 2D Supervisor more than I expected. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is less about one scene and more about the overall aftertaste.
Jaroslav Mottl was the thing I kept watching in Klíč svatého Petra (2023). There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. A couple of tiny timing choices really stuck with me. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Eddie Campbell fits into Texas @ Château d'Hérouville (2023). A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
Darleen Stoker gives this role a little extra shape without making a big show of it. The performance does the job, but not much more than that. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Corey Cott fits into Butlers in Love (2022). The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. That is the part I kept thinking about after the movie ended.
Felix Grimm gives this role a little extra shape without making a big show of it. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. It is less about one scene and more about the overall aftertaste.
I came away thinking about Christelle Conan's work as Executive Producer more than I expected. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. I bought the character pretty quickly, which is not always easy in this kind of film. That is the part I kept thinking about after the movie ended.
Connor McFarlane gives this role a little extra shape without making a big show of it. I would not call it bad, just not as sharp as it could have been. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Yannick Lawry's work as Nick more than I expected. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. That is the part I kept thinking about after the movie ended.
David Bennent gives this role a little extra shape without making a big show of it. There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. It is the kind of performance that quietly makes the movie sturdier. That is the part I kept thinking about after the movie ended.
Hector Calma gives this role a little extra shape without making a big show of it. I kept waiting for a more specific angle on the character. It never really locked in for me. It feels like the role needed another layer that never quite showed up. The performance does the job, but not much more than that. I can see someone else being kinder to it, but I did not fully get there.
Derek Ixer was the thing I kept watching in Lara Croft: Tomb Raider (2001). There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. A couple of tiny timing choices really stuck with me. Not the whole movie, obviously, but it helps a lot.
There is something pretty interesting about how Yogendra Tiku fits into Fan (2016). A few choices felt pushed, and that pulled me out of the scene. It feels like the role needed another layer that never quite showed up. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
Amar P. Kalwani gives this role a little extra shape without making a big show of it. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. That is the part I kept thinking about after the movie ended.
Michael Tavera gives this role a little extra shape without making a big show of it. The performance does the job, but not much more than that. It feels like the role needed another layer that never quite showed up. It never really locked in for me. I can see someone else being kinder to it, but I did not fully get there.
Barrie Gower was the thing I kept watching in Life of Pi (2012). The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. Some scenes click, some just sit there. It is less about one scene and more about the overall aftertaste.
Steven Knight was the thing I kept watching in Spencer (2021). I like the idea of the performance more than the full result. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. I can see someone else being kinder to it, but I did not fully get there.
Octavius J. Johnson was the thing I kept watching in 59 Seconds (2018). Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. The quieter stuff works better than the bigger beats. I can see someone else being kinder to it, but I did not fully get there.
There is something pretty interesting about how Rati Pandey fits into Porus (2017). I like the idea of the performance more than the full result. I would not call it bad, just not as sharp as it could have been. The quieter stuff works better than the bigger beats. It is solid enough, but there are moments where it feels a bit on autopilot. It is less about one scene and more about the overall aftertaste.
Shen Jie gives this role a little extra shape without making a big show of it. Some scenes click, some just sit there. It is solid enough, but there are moments where it feels a bit on autopilot. The quieter stuff works better than the bigger beats. It is less about one scene and more about the overall aftertaste.
Jarkko Lahti gives this role a little extra shape without making a big show of it. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. Not the whole movie, obviously, but it helps a lot.
There is something pretty interesting about how Greta Antoine fits into Weird Stories (2019). A few choices felt pushed, and that pulled me out of the scene. I kept waiting for a more specific angle on the character. It never really locked in for me. It feels like the role needed another layer that never quite showed up. The performance does the job, but not much more than that. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how Barbara Jonak fits into The Miracle (2024). I bought the character pretty quickly, which is not always easy in this kind of film. A couple of tiny timing choices really stuck with me. There is a nice lived-in quality to it, nothing too forced. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Simon Maddison fits into Halloween (2018). A few choices felt pushed, and that pulled me out of the scene. The performance does the job, but not much more than that. It feels like the role needed another layer that never quite showed up. I can see someone else being kinder to it, but I did not fully get there.
Boomer Tibbs gives this role a little extra shape without making a big show of it. I bought the character pretty quickly, which is not always easy in this kind of film. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. It is less about one scene and more about the overall aftertaste.
I came away thinking about Clara Kim's work as Writer more than I expected. It is the kind of performance that quietly makes the movie sturdier. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. A couple of tiny timing choices really stuck with me. I bought the character pretty quickly, which is not always easy in this kind of film. Not the whole movie, obviously, but it helps a lot.
Catherine Feeny was the thing I kept watching in Trainwreck (2015). It feels like the role needed another layer that never quite showed up. It never really locked in for me. The performance does the job, but not much more than that. A few choices felt pushed, and that pulled me out of the scene. I kept waiting for a more specific angle on the character. It is less about one scene and more about the overall aftertaste.
6/10 for Jessica Otto here, mainly because of how the role plays in the film. I would not call it bad, just not as sharp as it could have been. The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. So the rating is less about one scene and more about the overall aftertaste.
For Happily (2021), Josh Trank feels like a 1/10. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. I kept waiting for a more specific angle on the character. I can see someone else being kinder to it, but I landed lower.
5/10 for Jacek Gąsior here, mainly because of how the role plays in the film. I like the idea of the performance more than the full result. The quieter stuff works better than the bigger beats. I would not call it bad, just not as sharp as it could have been. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. So the rating is less about one scene and more about the overall aftertaste.