Buddy comedies have always thrived on balancing tension with unlikely friendships. The success of these films usually depends on how well the leading pair connects.
If there’s no real chemistry, the film can feel forced and awkward. But when the connection works, it creates an enjoyable mix of witty conversations and exciting action.
George Clooney and Brad Pitt are a great example of this, with their proven on-screen chemistry. This dynamic shines in Jon Watts’ new action-comedy Wolfs.
Known for directing the Spider-Man trilogy, Watts teams up with Clooney and Pitt for a film about rival fixers who must work together on a high-stakes mission. Though Wolfs benefits from its charismatic leads, it struggles at times due to a thin plot and uneven pacing.
The film runs for 108 minutes and is visually impressive, making good use of a cold winter setting to highlight the emotional distance between the two “lone wolves.”
This environment almost becomes a character of its own, adding to the tension and chaos between Clooney and Pitt’s characters.
Watts shows he can step away from superhero films and focus on more relatable human characters. While the film keeps viewers interested with its characters, it sometimes falls short in pacing and story depth, especially considering the star power involved.
What Is Wolfs About?
Directed with smooth precision, Wolfs focuses on Jack (Clooney) and Nick (Pitt), two lone wolf fixers who handle high-profile messes. Their story kicks off at a fancy Manhattan hotel, where Amy Ryan’s character Margaret finds herself in trouble.
She is a district attorney caught in an affair with a clueless young man known as “The Kid” (played by Austin Abrams). When The Kid is found lying on the hotel floor in his underwear, seemingly dead, Jack and Nick are called to clean up the situation.
However, they’re not happy about having to work together. Their sarcastic banter and refusal to get along add humor to the movie, bringing back a nostalgic feeling that recalls old-school buddy comedies.
As Jack and Nick work to erase the mess, they discover The Kid isn’t dead. Instead, he’s a fast-talking business student who might have overdosed on heroin he was delivering for a friend.
With The Kid alive and in need of help, Jack and Nick must tolerate his sloppy behavior while helping him return the drugs to their rightful owners, a group of Albanian mobsters.
As the night goes on, the relationship between the trio starts to change. The cold, hostile atmosphere of New York City reflects their growing bond, which develops as they face chaotic situations.
Clooney and Pitt’s performances bring laughter and excitement, especially in scenes like the body disposal and the hilarious chase, where Nick, despite his age, chases a drug-fueled man in his underwear through the streets of Manhattan. The production design and noir-inspired cinematography add to the film’s relaxed, old Hollywood charm.
George Clooney & Brad Pitt Shine
The real magic of Wolfs comes from the chemistry between Clooney and Pitt. Their natural charisma and perfect comedic timing keep the film entertaining. The back-and-forth conversations between the two remind viewers of their famous roles in Ocean’s Eleven.
Still from Wolfs (Credit: Apple TV+)
Watts does an excellent job of combining action with comedy and suspense, allowing Clooney and Pitt to bring the movie to life with their banter and tension.
Their performances show that even without much dialogue, their characters communicate effectively, often through subtle gestures. For example, scenes where they both reach for painkillers or reading glasses show quiet, self-aware humor.
Clooney is at his best, displaying his trademark charm while portraying a seasoned fixer whose calm demeanor hides his deep experience. His character is commanding and relatable at the same time. On the other hand, Pitt plays Nick with a cocky, yet likable energy, giving his performance an unpredictable edge.
While Jack seems more grounded, Nick is harder to read, making their partnership even more enjoyable. This dynamic elevates the film and adds depth to the slower moments, as their interactions are memorable and full of charm.
Austin Abrams, best known for Euphoria and Dash & Lily, also delivers a standout performance as The Kid. His character adds a fresh contrast to the older, more experienced Jack and Nick.
Despite the chaos surrounding him, Abrams manages to ground the film’s more ridiculous moments with emotional stakes. His awkward but witty delivery adds an extra layer to the plot, without overshadowing the leads.
Wolfs Has a Softer Bite Than Expected
Despite Clooney and Pitt’s strong chemistry and comedic timing, Wolfs misses some opportunities for deeper storytelling. That’s not to say the movie won’t be enjoyable for audiences, especially when it arrives on Apple TV+ after its limited theatrical release.
However, it could have benefited from a more detailed plot and more twists to make it stand out. The pacing slows down in certain scenes, such as the hotel cleanup and the chase sequence, which feel overly long and drag the story.
Additionally, there are several unanswered questions, like the backstory of Margaret, the district attorney, and the Albanian drug dealers.
The film’s ending feels abrupt, likely because Watts is setting up the story for a sequel, which has already been confirmed. While Wolfs has classier star power than many other streaming platform releases, it doesn’t quite leave a lasting impression.
The narrative often relies on the charm of Clooney and Pitt, rather than diving into deeper themes. Some parts of the story are only hinted at, leaving the characters feeling underdeveloped.
The bickering between Jack and Nick, for example, doesn’t evolve into something more meaningful, unlike other successful buddy comedies.
Still from Wolfs (Credit: Apple TV+)
Even with these flaws, Wolfs is undeniably fun. As an action-comedy, it focuses more on humor than violence, with a surprisingly low body count.
One of the funniest moments in the film is a slow-motion car crash, a perfect example of Watts’ talent for visual comedy.
This scene highlights Wolfs’ distinct style and sets it apart from modern comedies. While the movie doesn’t have a deep or complicated plot, it’s a lighthearted and entertaining experience.
Clooney and Pitt’s undeniable chemistry carries the film, making it an enjoyable watch for fans of action comedies.
Director David Moreau returns to horror after 2008’s American remake of The Eye and 2017’s Seuls. His new film, MadS, premiered at this year’s Fantastic Fest. It is a continuous-shot horror movie that offers an apocalyptic thrill at high speeds.
Moreau goes back to his roots as a New French Extremity filmmaker who shocked audiences with Them (or Ils in French) in 2006. He takes on the challenging task of making viewers feel they are watching a single, uninterrupted scene.
MadS was filmed in five takes over five days, but you cannot tell at all. Moreau’s control over constant movement shows a descent into madness as an infection spreads. The film highlights strong performances as we see the beginning of humanity’s end unfold in real time.
‘MadS’ Is Chaotic Right From the Start
The story begins with 18-year-old Romain (played by Milton Riche), a cheerful boy who takes a new pill from his dealer. Romain has just graduated, and he wants to celebrate. Then, a bandaged woman suddenly climbs into his parked car. The bleeding hitchhiker is in pain, and Romain panics while trying to help her.
Unfortunately, she dies. Now Romain has a body in his car, his father is calling him from out of town, and his girlfriend Anais (Laurie Pavy) is on her way to his house. This all happens in just a few minutes. Moreau quickly pulls his audience into the chaos, which is just a taste of the wild insanity Romain will face next.
The film feels like a mix of New Life, Climax, and Run Lola Run. Moreau looks at a contagion outbreak closely, focusing on a few characters caught up in what seems to be a worldwide event. Some viewers may feel frustrated because they want more explanations beyond what Romain and his friends experience.
However, there is an organic fear in these personal stories of doom. Typical apocalyptic tales start after civilization has fallen, allowing for exciting moments like zombie battles. In contrast, Moreau prefers intimate nightmares that lack clear answers.
This is where the real horror lies. Normal life quickly changes from enjoying drinks in bathrooms and discussing romantic drama to running from armed soldiers trying to control a mysterious disaster.
Intimacy is a key element in MadS. The kills are more than just bites, torn flesh, and turning into monsters.
Romain’s encounter with the injured woman (who coughs blood on him) leads to unsettling moments, similar to Eduardo Sánchez and Gregg Hale’s segment “A Ride in the Dark” from V/H/S/2.
MadS offers no solutions to the larger issue as we watch Romain get sick and see how it spreads among partygoers, in French suburbs, and in city centers.
The pain, physical suffering, and resulting madness that take over the story create a powerful sense of inevitability. Once the film begins, it is like a runaway train crashing through obstacles with its driver laughing at the chaos.
‘MadS’ Features a Strong Cast of Horror Performers
MadS features a trio of talented young actors who shine throughout the film. Because the film uses a single-shot style with the camera focused on a specific actor, there is a smooth transition between characters that keeps things engaging.
Milton Riche plays Romain, the carefree young man who introduces us to the unfolding chaos, hinting at the hormonal effects of an infection he unknowingly brings to a crowded house party.
He acts as our first guide. On the other side, Lucille Guillaume plays Julia, who struggles to get home as France falls apart.
While Riche shows subtle changes as he begins to show signs of the rage virus, Guillaume is a terrified survivor trying to escape contamination.
Julia’s responses to the world on fire lead to a memorable ending for horror fans. However, the real magic happens in the middle of the film.
Laurie Pavy’s transformation into the ultimate predator in MadS is one of the best horror performances in recent memory. Her work stands alongside Jane Levy in Evil Dead or Toni Collette in Hereditary, fully embodying wild, animal-like traits.
Still from MadS (Credit: Shudder)
Infected people lose consciousness at times, and her character switches from a scared girl to a possessed monster.
Her every action is done with maximum effort: licking streetlights in a daze, screaming for her mother, skipping towards an innocent biker, showing aggressive behavior, and expressing human emotions amid terrifying outbursts. Pavy’s performance is a perfect fit for the genre.
David Moreau Did Not Need a High Body Count to Make ‘MadS’ Memorable
Moreau fills the film with feelings of dread without needing a high body count. Real scares are mixed with a heavy, demonic character study, while cinematographer Philip Lozano’s moving camera captures everything from running madmen to Romain’s car.
The filmmaking style is varied and powerful for many reasons, even using digital effects to frame scenes creatively. Once Romain starts his car, there is no stopping Moreau’s ambitious and intense take on Day Zero apocalypse stories.
The film is artistic and hungry, honoring the spirit of the New French Extremity movement. MadS is the kind of horror movie that makes you feel like a newcomer to the genre again — and what a wonderful feeling that is.
MadS, directed by David Moreau, is a continuous-shot horror film that follows Romain, an 18-year-old caught in a chaotic, infection-spreading nightmare.
The film showcases intense performances, especially from Laurie Pavy, and highlights personal doomsday scenarios without relying on a high body count. MadS premieres on Shudder October 18.
