This was directed by the cousin of a very close friend of mine, so I went out to Tribeca with him to watch it.

I absolutely adore the vibe of this movie. It has such a distinct style that I really enjoyed, and brought a ton of energy to an already strong screenplay. The performances were really solid all around and the editing was razor sharp, not to mention the witty humor and use of breaking the fourth wall as a storytelling device which I’m always a fan of. Super impressed by this and I’m very much looking forward to what Daniel Antebi does next.

Kind of a shame, because the 4th wall breaking exposition dumps are totally unnecessary filler, and I think in between these Ferris Bueller screen winks is maybe something of substance.

God’s Time is a scrappy, determined effort. Unfortunately, I think the decision to engage directly with the audience is more of a burden on us than anything else.

Amusing; annoying; constrained; crude; manic; short; underwhelming.

Two recovering addicts face a race against time in order to stop the girl they both have a crush on from shooting her ex boyfriend.

There's talent here. Some of the shots and editing are really nice. Has that snappy, sharp Safdie style in places. Dion Costelloe is the stand out. But there's just not enough in the script to push it further towards being gripping enough.

A frenetic, idiosyncratic, snappy, suspenseful BLAST.

Absolutely hype for when this director and cast totally pop off.

will inevitably be compared to films by the Safdies -- and it is arguably the closest thing we've gotten to a covid-era Heaven Knows What -- but, for my money, this has a lot more in common with the visually erratic indies of the early 2000s (think Spun and Rules of Attraction, both of which celebrate their 20th anniversary this year) with its fourth wall breaks, darkly comic nods at violence, consistently profane dialogue etc; that's not a slight either, this is very good at a very specific thing, but that also makes it feel simultaneously dated and provocative in equal measure

Total blast. Very handsomely shot with infectious enthusiasm from everyone behind and in front of the camera. This is the type of calling card movie you go to these festivals for.

I give it a C- for mask discipline though, it's no wonder we're still in a pandemic.

This is the kind of film that I want to see at festivals. No stars. No pre-fab distribution plans from Vertical or some shit. Just raw talent exploding in a one-of-a-kind feature debut. And most importantly, it wasn't just style. Everybody and their mother has style. This movie used an energetic and fourth-wall-breaking aesthetic to tell a real story with real characters and real stakes. It wasn't just style. It had a core of truth. Can't wait to see what they do next.

Liz Caribel Sierra, where have you been all my life?

Lots of fun erratic energy and it ends with one of my fave shots in recent memory.

If you can get through the first half an hour, which is unbearable Gen-Z quirk filmmaking, this turns into a very interesting commentary on reliable narration and worldviews that I left with an overall enjoyable experience.

Filme bacana ✌️🤝👏
Serve muito o humor com o tom de ironia e “sátira”.
Gravado durante a pandemia, só saiu ano passado…
Diretor acertou em cheio na direção e roteiro.
O elenco tem carisma de sobra, os personagens são cheios de camadas…
É tipo aquele filme que vai crescendo no tom, em certo momento achei que aconteceria algo que elevasse o nível… ia ser louco caso fosse.
Gostei bastante.
Duração curta, o ritmo é bom, as situações são plausíveis e tem até certa metalinguagem…
A cena final é legal, a mensagem no mesmo nível.
Acaba e ainda rola uns pós créditos engraçados.