Elemér Ragályi was the thing I kept watching in From Europe Into Europe (2004). 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. I can see someone else being kinder to it, but I did not fully get there.
Cade Warner was the thing I kept watching in Swamp (2026). 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. The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. It never really locked in for me. I can see someone else being kinder to it, but I did not fully get there.
There is something pretty interesting about how Kazuma Hiratani fits into Laid-Back Camp the Movie (2022). It never really locked in for me. 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 kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. It is less about one scene and more about the overall aftertaste.
Angel Lynne was the thing I kept watching in Love at Sunset Terrace (2020). It never really locked in for me. 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. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Stephanie Whonsetler fits into Tragedy Girls (2017). 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. That is the part I kept thinking about after the movie ended.
I came away thinking about Mark Mertens's work as Producer more than I expected. The performance does the job, but not much more than that. 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. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Philippe Weibel's work as Producer more than I expected. 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. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. I can see someone else being kinder to it, but I did not fully get there.
Tim Obzud gives this role a little extra shape without making a big show of it. The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. It is solid enough, but there are moments where it feels a bit on autopilot. That is the part I kept thinking about after the movie ended.
Kat Morgan was the thing I kept watching in The Outrun (2024). 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.
Becky Sloviter gives this role a little extra shape without making a big show of it. The quieter stuff works better than the bigger beats. 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. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. That is the part I kept thinking about after the movie ended.
Dragoş Buliga was the thing I kept watching in The Wanderers: The Quest of The Demon Hunter (2018). 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.
Hiren Patel was the thing I kept watching in Gospel of Ted (2022). The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. It is less about one scene and more about the overall aftertaste.
Rita de Podestá gives this role a little extra shape without making a big show of it. The quieter stuff works better than the bigger beats. It is solid enough, but there are moments where it feels a bit on autopilot. 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. Some scenes click, some just sit there. I can see someone else being kinder to it, but I did not fully get there.
There is something pretty interesting about how Rodger Goeckeritz fits into Men in Black II (2002). I like the idea of the performance more than the full result. 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.
Joanna Lumley was the thing I kept watching in Absolutely Fabulous (1992). I kept waiting for a more specific angle on the character. 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. That is the part I kept thinking about after the movie ended.
Jacob Derwig 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 feels like the role needed another layer that never quite showed up. I kept waiting for a more specific angle on the character. It never really locked in for me. It is less about one scene and more about the overall aftertaste.
Ade Dimberline was the thing I kept watching in White Sky (2021). 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. There is a nice lived-in quality to it, nothing too forced. Not the whole movie, obviously, but it helps a lot.
Frida Torresblanco was the thing I kept watching in Married to El Chapo: Emma Coronel Speaks (2025). I kept waiting for a more specific angle on the character. It never really locked in for me. A few choices felt pushed, and that pulled me out of the scene. It is less about one scene and more about the overall aftertaste.
I came away thinking about Celena Shackelford Cater's work as Studio Teachers more than I expected. 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 kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how James G. Dashe fits into Cars (2006). 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. The quieter stuff works better than the bigger beats. Some scenes click, some just sit there. That is the part I kept thinking about after the movie ended.
Don Abbatiello was the thing I kept watching in The Prince (2014). 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. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how Yudai Takahashi fits into The Girl Who Leapt Through Time (2006). I would not call it bad, just not as sharp as it could have been. Some scenes click, some just sit there. I like the idea of the performance more than the full result. 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.
There is something pretty interesting about how Jean-Claude Kalache fits into Toy Story 2 (1999). 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. 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. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Ruslan Sorokin fits into Run (2020). I kept waiting for a more specific angle on the character. 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. The performance does the job, but not much more than that. It is less about one scene and more about the overall aftertaste.
I came away thinking about José Darío Ortega's work as Producer more than I expected. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. I bought the character pretty quickly, which is not always easy in this kind of film. It is less about one scene and more about the overall aftertaste.
Georgia Woodthorpe was the thing I kept watching in Reign of Chaos (2022). The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. 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 Masanao Maeda fits into Sonic the Hedgehog (2020). 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.
Ryan Turner 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. 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. Not the whole movie, obviously, but it helps a lot.
There is something pretty interesting about how 嘻哈 fits into TONIGHT COMEDY SHOW (2026). I bought the character pretty quickly, which is not always easy in this kind of film. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. The small reactions do a lot of the heavy lifting. It is less about one scene and more about the overall aftertaste.
Elena Chernova 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. 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. It is less about one scene and more about the overall aftertaste.
I came away thinking about László Kósa's work as Stunts more than I expected. 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 kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. I can see someone else being kinder to it, but I did not fully get there.
Will Ralston was the thing I kept watching in Allied (2016). 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 did not fully get there.
I came away thinking about Mathangan's work as Story more than I expected. 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 feels like the role needed another layer that never quite showed up. 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 did not fully get there.
David A. Wolf was the thing I kept watching in The Expendables (2010). 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 kept waiting for a more specific angle on the character. 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.
Robin Rieger was the thing I kept watching in Night of the Sicario (2021). 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. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Miranda King fits into Stop! That! Train! (2026). 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. A couple of tiny timing choices really stuck with me. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how Richard Smart fits into Popstar: Never Stop Never Stopping (2016). 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. 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.
Garnet Collinson 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. I kept waiting for a more specific angle on the character. 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. That is the part I kept thinking about after the movie ended.
Frank Buono 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. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. I like the idea of the performance more than the full result. 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 Sahila Hisyam fits into Risky Business (2024). 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. Not the whole movie, obviously, but it helps a lot.
For Identity (2003), Cindy Carr feels like a 2/10. I kept waiting for a more specific angle on the character. 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. So the rating is less about one scene and more about the overall aftertaste.
Erik Rondell gets a 3.5/10 from me for F9 (2021). I kept waiting for a more specific angle on the character. 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.
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Public reviews
Movie reviews
Elemér Ragályi was the thing I kept watching in From Europe Into Europe (2004). 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. I can see someone else being kinder to it, but I did not fully get there.
Cade Warner was the thing I kept watching in Swamp (2026). 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. The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. It never really locked in for me. I can see someone else being kinder to it, but I did not fully get there.
There is something pretty interesting about how Kazuma Hiratani fits into Laid-Back Camp the Movie (2022). It never really locked in for me. 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 kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. It is less about one scene and more about the overall aftertaste.
Angel Lynne was the thing I kept watching in Love at Sunset Terrace (2020). It never really locked in for me. 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. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Stephanie Whonsetler fits into Tragedy Girls (2017). 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. That is the part I kept thinking about after the movie ended.
I came away thinking about Mark Mertens's work as Producer more than I expected. The performance does the job, but not much more than that. 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. I can see someone else being kinder to it, but I did not fully get there.
I came away thinking about Philippe Weibel's work as Producer more than I expected. 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. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. I can see someone else being kinder to it, but I did not fully get there.
Tim Obzud gives this role a little extra shape without making a big show of it. The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. It is solid enough, but there are moments where it feels a bit on autopilot. That is the part I kept thinking about after the movie ended.
Kat Morgan was the thing I kept watching in The Outrun (2024). 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.
Becky Sloviter gives this role a little extra shape without making a big show of it. The quieter stuff works better than the bigger beats. 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. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. That is the part I kept thinking about after the movie ended.
Dragoş Buliga was the thing I kept watching in The Wanderers: The Quest of The Demon Hunter (2018). 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.
Hiren Patel was the thing I kept watching in Gospel of Ted (2022). The quieter stuff works better than the bigger beats. I like the idea of the performance more than the full result. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. It is less about one scene and more about the overall aftertaste.
Rita de Podestá gives this role a little extra shape without making a big show of it. The quieter stuff works better than the bigger beats. It is solid enough, but there are moments where it feels a bit on autopilot. 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. Some scenes click, some just sit there. I can see someone else being kinder to it, but I did not fully get there.
There is something pretty interesting about how Rodger Goeckeritz fits into Men in Black II (2002). I like the idea of the performance more than the full result. 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.
Joanna Lumley was the thing I kept watching in Absolutely Fabulous (1992). I kept waiting for a more specific angle on the character. 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. That is the part I kept thinking about after the movie ended.
Jacob Derwig 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 feels like the role needed another layer that never quite showed up. I kept waiting for a more specific angle on the character. It never really locked in for me. It is less about one scene and more about the overall aftertaste.
Ade Dimberline was the thing I kept watching in White Sky (2021). 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. There is a nice lived-in quality to it, nothing too forced. Not the whole movie, obviously, but it helps a lot.
Frida Torresblanco was the thing I kept watching in Married to El Chapo: Emma Coronel Speaks (2025). I kept waiting for a more specific angle on the character. It never really locked in for me. A few choices felt pushed, and that pulled me out of the scene. It is less about one scene and more about the overall aftertaste.
I came away thinking about Celena Shackelford Cater's work as Studio Teachers more than I expected. 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 kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. It never really locked in for me. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how James G. Dashe fits into Cars (2006). 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. The quieter stuff works better than the bigger beats. Some scenes click, some just sit there. That is the part I kept thinking about after the movie ended.
Don Abbatiello was the thing I kept watching in The Prince (2014). 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. The small reactions do a lot of the heavy lifting. It is the kind of performance that quietly makes the movie sturdier. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how Yudai Takahashi fits into The Girl Who Leapt Through Time (2006). I would not call it bad, just not as sharp as it could have been. Some scenes click, some just sit there. I like the idea of the performance more than the full result. 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.
There is something pretty interesting about how Jean-Claude Kalache fits into Toy Story 2 (1999). 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. 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. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Ruslan Sorokin fits into Run (2020). I kept waiting for a more specific angle on the character. 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. The performance does the job, but not much more than that. It is less about one scene and more about the overall aftertaste.
I came away thinking about José Darío Ortega's work as Producer more than I expected. A couple of tiny timing choices really stuck with me. The small reactions do a lot of the heavy lifting. I bought the character pretty quickly, which is not always easy in this kind of film. It is less about one scene and more about the overall aftertaste.
Georgia Woodthorpe was the thing I kept watching in Reign of Chaos (2022). The performance does the job, but not much more than that. I kept waiting for a more specific angle on the character. 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 Masanao Maeda fits into Sonic the Hedgehog (2020). 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.
Ryan Turner 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. 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. Not the whole movie, obviously, but it helps a lot.
There is something pretty interesting about how 嘻哈 fits into TONIGHT COMEDY SHOW (2026). I bought the character pretty quickly, which is not always easy in this kind of film. There is a nice lived-in quality to it, nothing too forced. It is the kind of performance that quietly makes the movie sturdier. The small reactions do a lot of the heavy lifting. It is less about one scene and more about the overall aftertaste.
Elena Chernova 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. 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. It is less about one scene and more about the overall aftertaste.
I came away thinking about László Kósa's work as Stunts more than I expected. 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 kept waiting for a more specific angle on the character. A few choices felt pushed, and that pulled me out of the scene. I can see someone else being kinder to it, but I did not fully get there.
Will Ralston was the thing I kept watching in Allied (2016). 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 did not fully get there.
I came away thinking about Mathangan's work as Story more than I expected. 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 feels like the role needed another layer that never quite showed up. 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 did not fully get there.
David A. Wolf was the thing I kept watching in The Expendables (2010). 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 kept waiting for a more specific angle on the character. 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.
Robin Rieger was the thing I kept watching in Night of the Sicario (2021). 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. The small reactions do a lot of the heavy lifting. There is a nice lived-in quality to it, nothing too forced. That is the part I kept thinking about after the movie ended.
There is something pretty interesting about how Miranda King fits into Stop! That! Train! (2026). 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. A couple of tiny timing choices really stuck with me. It is less about one scene and more about the overall aftertaste.
There is something pretty interesting about how Richard Smart fits into Popstar: Never Stop Never Stopping (2016). 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. 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.
Garnet Collinson 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. I kept waiting for a more specific angle on the character. 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. That is the part I kept thinking about after the movie ended.
Frank Buono 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. It is solid enough, but there are moments where it feels a bit on autopilot. Some scenes click, some just sit there. I like the idea of the performance more than the full result. 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 Sahila Hisyam fits into Risky Business (2024). 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. Not the whole movie, obviously, but it helps a lot.
For Identity (2003), Cindy Carr feels like a 2/10. I kept waiting for a more specific angle on the character. 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. So the rating is less about one scene and more about the overall aftertaste.
Erik Rondell gets a 3.5/10 from me for F9 (2021). I kept waiting for a more specific angle on the character. 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.