October 31, 2025
WRITTEN BY: THE BITESIZE CREW
As everyone probably knows, Quentin is Bitesize’s resident old man. With that often comes complaints about how some of the opinions and views of Bitesize’s younger writers — the youths, as he lovingly calls them — tend to skew too recent, especially when it comes to rankings and Bitesize Top Five. Sure, his rantings can often be taken as an old man yelling at clouds, but during a recent brainstorming session for future group articles, we might have found some truth in his possibly senile harangues.
The idea pitched was “Deep Cuts,” where each writer would pick a lesser-known movie from a popular performer’s filmography and discuss why it’s underrated. The thought process was that this would highlight movies we enjoy even though they were critically maligned, underseen due to release circumstances, or simply forgotten by the general masses. However, when we started tossing out the names of actors and actresses to focus on, we had a problem. For every suggestion, all but one had at least two writers who hadn’t seen anything but the most popular or most recent movies of said performer. The knowledge base simply wasn’t there. A deep cut list for Tom Cruise that features the likes of Mission: Impossible, Jerry Maguire, and Rain Man isn’t a list of deep cuts at all. The idea just didn’t work. All said and done, 24 actors and actresses were suggested, from Sylvester Stallone to Saoirse Ronan. The only performer who had at least seven writers that could contribute to a list of deep cuts was, of all people, Ryan Reynolds.
As a result, we flipped the idea. Instead of highlighting deep cuts that we love, our writers will look back through the annals of film and watch and review a movie that we very obviously should have seen but haven’t for whatever reason. This will make us all better film fans and critics while maybe giving you additional insight into why each writer reviews newer movies the way they do.
So, welcome to “Film School,” our new recurring article series. Each iteration will be topic-centric, so feel free to offer topic suggestions in the comments on Instagram, Facebook, or X. For our first lesson, since today is Halloween, let’s dive into Horror Classics.
Class is in session…
THE CABINET OF DR. CALIGARI (1920)
After seeing The Cabinet of Dr. Caligari on movie superlative lists for years, it wasn’t until The Unbearable Weight of Massive Talent — where Nicolas Cage calls it his favorite movie — that I added it to my watchlist. Well, the time is now, and the hype is quasi-real. If you can get past it being a silent movie from 1920 (a big ask, to be sure), you’ll be treated to a tremendous example of expressionism whose fingerprints can be seen on works from a wide range of filmmakers, from Tim Burton to Robert Eggers. On top of that, the score is incredible, a mix of electric guitar, synthesizer, piano, and horns that has clearly influenced both heavy metal and jazz musicians alike. Once you consider the inherent creepiness that stems from being a 105-year-old German movie, from the old-world makeup and distorted set design to the sheer graininess of it all, it’s easy to see why Caligari has been considered an all-time classic as the first horror, cult, and arthouse film. I don’t need to watch it again, mind you, but it was a worthwhile experience. Also, it’s on YouTube if you’re interested. — Quentin
NIGHT OF THE LIVING DEAD (1968)
Despite studying film for four years, one of my most glaring film blindspots was Night of the Living Dead. I obviously knew of its significance, but finally watching it revealed the extent of its impact. It highlighted to me just how much contemporary zombie movies are inspired by George A. Romero’s iconic picture, particularly 28 Days Later, as both films employ scrappy filmmaking techniques and a story focused on confused, scared civilians (some more heroic than others) who are forced to work together to survive. Also, Night looks incredible, especially the striking use of lighting and shadows that is almost Hitchcockian. Every shot is purposeful, and the violence, whilst somewhat mild compared to what audiences are accustomed to today, is shocking in its own way. Additionally, I really enjoyed the pre-1970s acting, which doesn’t rely so much on realism but rather on a more operatic style of emoting that really lends itself to heightened tension. Lastly, the ending is a smack in the face, a brutally bleak conclusion after we’re given a sliver of hope. Overall, Night of the Living Dead is one of the best zombie films I’ve seen. — Katie
SUSPIRIA (1977)
I compete in a horror movie trivia league, and no matter how well-versed you THINK you are, you will find others who run circles around you. Fortunately, this article presented an opportunity to round out my genre knowledge because, despite previously studying a varied slate of Dario Argento’s films, I missed Suspiria. I’ve learned that was a mistake. Argento is a master of ramping up suspense and drawing out kill scenes by using sound and visuals as a distraction in the lead up to a crescendo of artful violence. It is like ballet, which is apropos for this film since it is set at a dance academy. Despite some acting difficulties stemming from language barriers, it isn’t hokey; it remains tense and unsafe throughout. Even the supernatural aspects don’t seem outlandish but consciously considered, like everything else that comes across the screen. — Robert
THE SHINING (1980)
The Shining’s slow descent into madness is anything but slow moving. It always has your attention, whether through director Stanley Kubrick’s beautiful one-shots, composers Wendy Carlos and Rachel Elkind’s haunting score, or the brilliant acting from the Torrance family (Shelley Duvall, Jack Nicholson, and Danny Lloyd). I also can’t pass up the chance to mention that this supernatural psychological horror from yesteryear, has to, of course, feature a magical black man (Scatman Crothers), and it isn’t a misused trope for once. Yes, The Shining is long. Yes, it’s meticulous. But dammit if it doesn’t live up to the hype. — Amarú
TWILIGHT ZONE: THE MOVIE (1983)
As a fan of The Twilight Zone, it’s baffling that I had never seen Twilight Zone: The Movie. I think I steered clear for so long because of the horrific tragedy that occurred on set during the filming of John Landis’ segment, which resulted in the death of Vic Morrow and two children. That said, I tried my best to go into this film with a clear mind. Each outing certainly offers a different take on the beloved series. Joe Dante’s “It’s a Good Life” delivers a Carrie-like narrative that is quite creepy, while Steven Spielberg presents a more whimsical and heartfelt story with “Kick the Can.” However, George Miller’s “Nightmare at 20,000 Feet” is the most successful at capturing the authentic tone of the show. Unfortunately, as a whole, the film never lives up to expectations, nor does it come close to the unsettling brilliance of the original series. The 1983 movie just doesn’t hit like the iconic episodes from the early 60s do. — Paige
THE LOST BOYS (1987)
The sad truth is, sometimes, you just see a movie too late. Had I seen The Lost Boys as a kid, I would've eaten it up. Unfortunately, without that nostalgia attached, this one just doesn't do it for me. I'm not saying it's a bad film (it's not), but there just isn't anything that made me understand its reverence. The effects, characters, and performances are fairly average (even for the time), and the most memorable thing about it is Gerard McMahon's "Cry Little Sister." Yes, the track is a banger, and its use throughout the film is perhaps the film’s greatest strength. Look, it's a nearly 40-year-old film, and the fact that I liked it at all still says something. Having said that, I don't think I'll ever feel a need to revisit it. — Nick
CEMETERY MAN (1994)
If you find yourself watching Cemetery Man, you'll likely be telling yourself, "wow, this is a lot of fun!" but also "what the hell?!" It’s a delightfully silly and creepy 90's B-movie, directed by Michele Soavi, about a cemetery night guard (played by Rupert Everett) tasked with killing the undead rising from their graves, and it revels in the zaniness of its concept with genre flair and gothic perfection. It pushes the idea to its limit, and considering all the gore and sex this movie offers, that limit is not for the faint-hearted. I'm willing to bet that most people reading this have never heard of this movie, and frankly, I hadn't either until recently; however, I'm very glad I did because, even if you aren't into the B-movie type of grind, you can safely say there's nothing like Cemetery Man. — Adriano
THE INNOCENTS (2021)
The Innocents begins in the dark. Literally. For what feels like a minute, the viewer is treated to nothing more than a black screen scored to the isolated sound of a young girl singing the folk song “O Willow Waly.” That then bleeds into the 20th Century Fox logo, denying us the pleasure of hearing that iconic fanfare in the process. It’s a perfect setup for an increasingly chilling feature. Director Jack Clayton takes much of the ambiguity that fuels Henry James’ novella The Turn of the Screw and maximizes it for all that it’s worth, slowly but surely. Its wide CinemaScope frame heightens the darkness that surrounds Bly Manor, and its editing, scoring and sound techniques are truly ahead of its time. All these aspects effectively add to the question of whether the hauntings are truly supernatural, or if they are actually a result of Miss Giddens’ (Deborah Kerr) worsening mental state. This was a blindspot of mine that I was more than happy to find myself enveloped in. — Bode