March 15, 2026
WRITTEN BY: THE BITESIZE CREW
Presenting our 5th annual Bitesize Awards!
You know the drill… similar to the Bitesize Top Five, each writer ranks their Top 10 selections for each awards category. Those lists are then weighted on a reverse point system. After all the points are tallied, we have our nominees. Finally, we voted on each award using the same method to get our winners.
So, without further ado, here we go!
BEST MUSIC
SINNERS
Music is the backbone of Sinners, making it a clear standout for this award. The film’s score astonishingly blends blues, jazz, and folk music into this horror drama so perfectly that it makes it feel both authentic and emotionally powerful. With Ludwig Göransson being one of the best modern composers working today, it is evident that every time he and director Ryan Coogler collaborate, we get lightning in a bottle and get to see the magic come to life. Through its score, original songs, and soundtrack, the music in Sinners becomes a character in its own right and perfectly captures the setting and tone. It is soulful yet chaotic, which grounds the story while simultaneously amplifying the film’s tension. - Paige
Other Nominees:
GAMECHANGER
MILES CATON (SINNERS)
This award was formerly known as the Breakthrough Artist award, but we decided to change it to Gamechanger to allow established actors to be recognized for bringing something new to the table. Well, Breakthrough, Gamechanger, it doesn't matter, because Miles Caton is your winner either way. Yes, Michael B. Jordan's dual performance has taken much of the Sinners spotlight, but at the end of the day, this is Sammie Moore's (Caton) movie. From beginning to end, Caton is steady. He goes toe to toe with the likes of Jordan, Delroy Lindo, Wunmi Mosaku, Hailee Steinfeld, and he does it without any prior film credits. Then there's the voice. Caton emanates pure soul when he performs - channeling memories of Sam Cooke - and that's even more impressive when you learn that, similar to acting, he'd never played guitar before Sinners. Pretty damn impressive. - Nick
Other Nominees:
CHASE INFINITI (ONE BATTLE AFTER ANOTHER)
JACOBI JUPE (HAMNET)
ALFIE WILLIAMS (28 YEARS LATER)
DWAYNE JOHNSON (THE SMASHING MACHINE)
HIDDEN GEM
FREAKY TALES
Most hidden gems have a niche target audience whose voices are loud enough to gain a bit of traction due to said niche. Well, consider me the loudest in the room for this Oakland-based, science-fiction, action anthology film that hit every aspect of my Bay Area-loving heart. Sure, my bias may make it feel like Freaky Tales isn’t deserving of this award (I recognized the school I taught in for the first six years of my career just off a half-a-second shot in the background), but luckily it is. Its pulpy action (especially in the gloriously bloody final act led by a fantastically Bruce Leroy coded Jay Ellis), great Oakland soundtrack, a movie-stealing cameo smack in the middle of an inspired ensemble, and the distinct narration of Too $hort, fit the puzzle pieces together in one of the most fun and surprising films of 2025. If you’ve ever visited Oakland, you come away surprised by how much more depth is under the preconceived notions, and Freaky Tales mirrors that onion-like quality as act after act reveals more pleasant surprises than you thought possible. - Amarú
Other Nominees:
IN ALL SERIOUSNESS AWARD
ONE BATTLE AFTER ANOTHER
The portmanteau “dramedy” denotes a film equal parts comedy and drama, but even when one genre is the overwhelming theme of a movie, the other genre exists within to further highlight and enhance either the seriousness or the laughability to which it aspires; One Battle After Another is hilarious, but exists to be referential and poignant on real issues. Film bros will argue this isn’t even in Paul Thomas Anderson’s top five of his career, but its accessibility and rewatchability in comparison to the rest of his filmography is not a detriment, but something to applaud. Every performance, from Leo DiCaprio’s Bob Ferguson to his in-laws, is crafted in a perfect mosaic to construct a universe where getting your hands dirty is inherent to living and nothing anyone does or says is wasted. Through this, I was introduced to Chase Infiniti, who crashes onto the screen like a tidal wave, almost winning scenes against veterans like Leo and Sean Penn. The classic film homages paid through the camera work and art direction are beautiful and serve a timeliness despite the subject matter. There was never any doubt, from the first announcements of the Leo/PTA collaboration to the final cut, that this would be an awards favorite, and it didn’t disappoint; enjoy it sober or after a few small beers, or any level of sobriety really. - Robert
Other Nominees:
ADRENALINE AWARD
SUPERMAN
It’s no exaggeration to point out that James Gunn had a massive undertaking with his version of Superman. As the writer and director, he had to succeed at reintroducing the Man of Steel after filmmakers before him had struggled to do so following the Richard Donner entries. Since he’s the co-head of the newly formed DC Studios, he also had to make sure it served as a solid launch to their new cinematic universe after the last one failed to challenge Marvel as they had hoped. Gunn was tasked with all of this, and at a time when superhero fatigue was probably at its most potent amongst film critics, casual moviegoers, and even some hardcore comic-book fans. But by God, he managed to pull it off. Bringing much of the same nerdy vibrancy present in his Guardians of the Galaxy movies, Superman plays out like a random Golden Age issue vividly brought to life, with all the frenetic action, goofy comedy, beautifully weird creature designs, and sweeping romance to go with it. It is punkrocking proof that the cure to superhero fatigue is in quality, not quantity, and I hope that as Gunn continues to expand this universe across film and television, he stays true to that. - Bode
Other Nominees:
MISSION: IMPOSSIBLE - THE FINAL RECKONING
LAUGH OUT LOUD AWARD
THE NAKED GUN
Truth be told, when I first saw the trailers for The Naked Gun, I rolled my eyes into another dimension and audibly said “oof.” Frankly, it looked terrible. Contributing to that, I’m sure, is that there hadn’t been a good spoof comedy since 2000’s Scary Movie, mostly because filmmaking duo Jason Friedberg and Aaron Seltzer flat-out murdered the genre with the tragically terrible Date Movie, Epic Movie, Disaster Movie, Meet the Spartans, Vampires Suck, The Starving Games, and Superfast!. However, I should have had faith in The Lonely Island’s Akiva Schaffer (co-writer and director) and Family Guy’s Seth MacFarlane (producer), both of whom have been successfully churning out parody gags, quotable one-liners, and hilarious goofiness for years. Couple their comedic genius with full awareness of what a new Naked Gun movie should be, not to mention a delightfully deadpan Liam Neeson and a fully game Pamela Anderson, and one ends up with the funniest and perhaps most surprising movie of the year. If you avoided it because of the trailers, you are missing out on something that will make you laugh until your face hurts. A piece of advice: skip the wine from Bill Cosby’s private estate because you don’t want to sleep on this one. - Quentin
Other Nominees:
WAKE UP DEAD MAN: A KNIVES OUT MYSTERY
NIGHTMARE AWARD
SINNERS
What do vampires and the blues have in common? Literally nothing. But it lays the groundwork flawlessly for Ryan Coogler’s horror sensation, Sinners, to take shape. Sinners uses vampires to explore its themes of cultural integration in the midst of Jim Crow America, not just as an “ahh, sharp teeth” creature feature, although Coogler makes sure to leave some of that in there. His pension for genre perfection carries over into the horror genre as if he’s been there the whole time, sticking true to its influences that paved the way for past monster flicks, but with its own juice and swagger to create a frightening identity of its own. Sinners has already sunk its teeth into the neck of cinematic history, and that's simply because it's so amazingly special. - Adriano
Other Nominees:
FTK AWARD
PADDINGTON IN PERU
Whilst Paddington is technically for the kids, the loveable bear and his wholesome cinematic adventures are adored by them as well as wider audiences and critics alike. Although not the favourite among Paddington and Paddington 2, Paddington in Peru is still one of the best family-friendly films of 2026, speaking to the strength of the trilogy, and it carries its predecessor's irresistible charm, light-hearted humour, opposition to xenophobia, and themes of kindness and acceptance. Especially in the current social and political climate, Paddington’s message feels poignant, and the film’s warmth and optimism are needed. Paddington in Peru leaves London behind for the deep jungle of Peru, and not only does it have fantastic action set pieces and impressive visuals, but it also boasts hilarious character performances from Olivia Colman and Antonio Banderas. Colman is brilliant as the saintly Reverend Mother, leaning on her origins in British comedy for a hilarious performance that got a laugh out of me each time she was on screen. Plus, Banderas positively revels in his role as the roguish captain Cabot, bringing the perfect adventurous spirit to the film. - Katie
Other Nominees:
BEST DIRECTOR
PAUL THOMAS ANDERSON (ONE BATTLE AFTER ANOTHER)
It feels almost miraculous that Paul Thomas Anderson, who has never really been a box office darling as a filmmaker, managed to convince the higher-ups at Warner Bros. to give him a budget reportedly anywhere from $130–$175 million for a near three-hour, genre-bending, VistaVision-captured epic inspired by a Thomas Pynchon novel that features tons of allusions to the hot-button issues that still surround America to this very day. While those who work in the industry can go on about how this happened, I - the viewer - am just happy it exists. One Battle After Another offers PTA the chance to finally level up to the big leagues without sacrificing any of what has made him so unique since his start, from his eccentric sense of humour to his profound observations of how the passage of time can give and take away. It flows in a way that only a master like Anderson can ensure it does, and that’s helped by his innate gift of getting the best people in front of and behind the camera to execute such a gigantic vision. It may seem like hyperbole at this point, but there’s a reason why he’s one of the greatest to ever do it. - Bode
Other Nominees:
RYAN COOGLER (SINNERS)
CLINT BENTLEY (TRAIN DREAMS)
GUILLERMO DEL TORO (FRANKENSTEIN)
JOSH SAFDIE (MARTY SUPREME)
BEST SUPPORTING ACTRESS
AMY MADIGAN (WEAPONS)
I was familiar with Amy Madigan’s roles prior to Weapons, but never put together that they were all from the same person; my initial excitement for her Aunt Gladys was because I was into Andor and thought she was Kathryn Hunter. I apologize for the disrespect because she is equal parts horrifying, tragic, and comical as the main foil in this high-concept horror-thriller. There have been arguments that, beyond some nitpicks with the overlay of the timelines of the character chapters, the third act lets Weapons down because the mystery of the children’s disappearance is more compelling before the reveal. However, I think the oddity of Gladys and the inconclusiveness of where her magic originated and how she was bound to a demon tree is still engaging. The conclusion of her story is one of the most insane eight-minute stretches you will see on film, all sold by how you despise her for disrupting so many lives for her own self-preservation. There is a reason why the Aunt Gladys prequel was greenlit so quickly after the film’s release and why Madigan is in contendership for the Best Supporting Actress Oscar; unlike her character, Madigan is only getting better with age. - Robert
Other Nominees:
TEYANA TAYLOR (ONE BATTLE AFTER ANOTHER)
WUNMI MOSAKU (SINNERS)
INGA IBSDOTTER LILLEAAS (SENTIMENTAL VALUE)
ODESSA A’ZION (MARTY SUPREME)
BEST SUPPORTING ACTOR
JACOB ELORDI (FRANKENSTEIN)
The phrase transformative performance is thrown around a lot, but had you not known Jacob Elordi was playing The Creature in Frankenstein beforehand, it would be pretty tough to decipher. This is not just a result of makeup and costume, but the way that Elordi embodies his character. His movements and overall presence are unlike anything we've seen from him, and it's exactly what the character calls for. Whether it's the menacing and terrifying monster seemingly hunting Victor for revenge or the softer side when he's interacting with Elizabeth (Mia Goth) or The Blind Man (David Bradley), Elordi understood this assignment. Every moment he's on screen, you can see the torture and anguish The Creature has dealt with, and yet, you also get to watch him grow and display a level of humanity that can rival that of certain humans. It's a performance you can't turn away from. - Nick
Other Nominees:
BENICIO DEL TORO (ONE BATTLE AFTER ANOTHER)
STELLAN SKARSGÅRD (SENTIMENTAL VALUE)
SEAN PENN (ONE BATTLE AFTER ANOTHER)
DELROY LINDO (SINNERS)
BEST ACTRESS
ROSE BYRNE (IF I HAD LEGS I’D KICK YOU)
I’ve always appreciated Rose Byrne’s comedic performances and roles in horror films, but I realise that, until now, she had not had the opportunity to show her true range and abilities. Her performance as Linda, a therapist by profession and mother to a daughter with an eating disorder, in If I Had Legs I’d Kick You is exhausting in the best way possible, effectively portraying her character’s rising sense of panic in the face of the unattainable but inescapable expectations of motherhood, and her subsequent unravelling. Director Mary Bronstein's audacious decision to omit the daughter from being seen is a stroke of genius, completely solidifying the viewer’s identification with Rose Byrne’s character and creating a sense of intense claustrophobia. Like her character, we cannot escape her relentless responsibilities and the mounting stress that she is under, and Byrne’s face carries the weight of every demand she is subject to. In a complementary way, If I Had Legs I’d Kick You is not a film to be enjoyed, but endured, and relies on Byrne’s propulsive, multifaceted performance to balance the stressful atmosphere with our sympathy for her character. - Katie
Other Nominees:
JESSIE BUCKLEY (HAMNET)
RENATE REINSVE (SENTIMENTAL VALUE)
EMMA STONE (BUGONIA)
JENNIFER LAWRENCE (DIE MY LOVE)
BEST ACTOR
TIMOTHÉE CHALAMET (MARTY SUPREME)
Timothée Chalamet unlocks his full potential as Marty Mauser in Josh Safdie’s Marty Supreme. With this role, he once again proves that he is one of the most versatile actors of his generation. Who would’ve thought a film about achieving greatness in ping pong in the 1950s could be so compelling? But it works because Timmy embodies this character and truly makes Marty his own. Considering he is portraying such an arrogant and selfish person - screwing everyone over in his life and doing whatever he has to do to pursue greatness - he strangely makes Marty enthralling through his charisma leading to a character I couldn’t help but root for the entire time. Some may even say Chalamet has transformed into a real-life Marty Mauser by trying to achieve greatness at all costs, and in my eyes and the Bitesize team’s eyes, he certainly did with this performance. - Paige
Other Nominees:
JOEL EDGERTON (TRAIN DREAMS)
LEONARDO DICAPRIO (ONE BATTLE AFTER ANOTHER)
MICHAEL B. JORDAN (SINNERS)
ETHAN HAWKE (BLUE MOON)
BEST ENSEMBLE
SINNERS
2025 was filled with films jam-packed with stacked ensembles, from a four-headed lead of captivating family drama to a cavalcade of veteran actors interacting with newcomers and breakout stars with surprisingly hilarious and persistently heart-pounding energy. Yet, amongst one of the strongest lineups of acting nominees in recent memory, was there ever any doubt that Sinners had the strongest ensemble of the bunch? Starting with Michael B. Jordan showing a range of subtlety that no one knew he had in him, making one man feel like two real-life twins in Smoke and Stack. Then, add in standout performances, including the breakout debut from Miles Caton and his voice (a character all its own) and the absolute magnetism of Jack O’Connell. Bolster that with Delroy Lindo’s long-overdue Oscar nomination in a role filled with sadness, charm, and levity, Omar Benson Miller’s scene-stealing line deliveries, and Thomas Pang’s effortless chemistry with Jordan. And I haven’t even mentioned the best part of the entire film, its women. Li Jun Li’s tenacity, Jayme Lawson’s sultry appeal, and Hailee Steinfeld’s surprising… “maturity” all have you in the palm of their hands. Wrap all these amazing performances around my personal MVP - the heart, soul, warmth, strength, and protector of this ensemble - Oscar-motherfuckin'-nominated Wunmi Mosaku, and you can’t help but fall in love with everything happening on the screen. All before sneaking in Buddy Guy? This ensemble man… an absolute chef’s kiss. - Amarú
Other Nominees:
BEST PICTURE
ONE BATTLE AFTER ANOTHER
Much has been said about how relevant to the moment One Battle After Another is, but not enough about how it’s so timeless. Yes, authoritarianism and modern white supremacy are key elements, and the propulsive nature makes this unbelievably watchable for its over three-hour runtime filled with thrills and laughs in nearly every scene. The timeless nature, however, plays into the soul of Paul Thomas Anderson’s latest masterpiece: The father-daughter dynamic. It’s not simply a “Nazi’s are bad” narrative, but a tale of a burnout ex-revolutionary who did the noblest deed one can do: raise his daughter to fight the next battle. It turns this hilarious political thriller into something so deeply universal. PTA is unquestionably one of the greatest directors of all time, and we’re lucky to live through another magnum opus from a master. - Adriano
Other Nominees: