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Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! NEW REVIEWS FILMS SERIES SPOTLIGHT READ WATCH READ READ

Consensus Top 5 lists from our team of writers ranking a variety of items from the world of film & television. TOP FIVE READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ READ

Bitesize Breakdown features film & series reviews, interviews, rankings, and more from a diverse, global collective of entertainment writers! NEW REVIEWS FILMS TV SPOTLIGHT READ READ READ

AUDREY'S CHILDREN Starring: Natalie Dormer, Clancy Brown, Jimmi Simpson, Evelyn Giovine, and Brandon Micheal Hall Director: Ami Canaan Mann KATIE Audrey’s Children is a heartfelt and moving film about the legacy of Dr. Audrey Evans’ transformative work. Natalie Dormer is fantastic and brings a passionate energy to the role of Audrey, and has great chemistry with co-star Jimmi Simpson (Dr. Dan D’Angio). I just would have liked more exploration of Dr. Audrey Evans's life before working at the Hospital of Philadelphia, and more insight into what drives her to be the incredible woman she clearly was. Overall, Audrey’s Children is beautifully shot and succeeded in engaging me in a true story I knew nothing about previously, whilst highlighting Dr. Audrey Evans’ impact. AMARÚ As with many biopics that cover extraordinary people in extreme circumstances, Audrey’s Children goes as its performances go. Luckily, Natalie Dormer is electric as pediatric oncologist Dr. Audrey Evans, and she is further bolstered by magnificent against-type support from Jimmi Simpson (playing strong/silent instead of weird/silent) and Clancy Brown (playing good-guy mentor instead of bad-guy badass). Even more fortunate is that Ami Canaan Maan’s direction seamlessly blends a propulsive pace that matches the urgency of cancer research with a contemplative one highlighting its severity. Audrey’s Children is an all-around solid watch that is more than worth your time.

IRONHEART Starring: Dominique Thorne, Anthony Ramos, Alden Ehrenreich, Lyric Ross, Manny Montana, Regan Aliyah, Matthew Elam, and Anji White Creator: Chinaka Hodge AMARÚ Ironheart feels like being back home, comfortably walking into an old neighborhood I haven’t visited in years. Led by a magnificent Dominique Thorne, the authentically heartfelt ensemble (especially surprise stand-out Lyric Ross) takes well-tread coming-of-age, crime drama tropes and gives them a refreshing energy that feeds your soul. Every time you think clunky plot points will dampen the light, another earnest interaction filled with heartbreak, joy, humor, and all of the above takes the story to surprisingly emotional places. Add in a pitch-perfectly cool Anthony Ramos, and an outstanding soundtrack, and I finished this six-episode season wanting to take a plate with me.

SEND HELP Starring: Rachel McAdams and Dylan O’Brien Director: Sam Raimi ADRIANO The moments in Send Help where writer/director Sam Raimi goes full tilt into his wheelhouse of campy ultra-gore were the most fun. The moments in between, however, not so much. Rachel McAdams and Dylan O’Brien are excellent, both showing off outstanding comedic chops. And as much as I found the psychological breakdown of these characters lacklustre, it was entertaining enough to hold my attention throughout. The conversations that populate the majority of the runtime were dull, and the eat-the-rich twisty narrative is getting old, but it’s exciting to see Raimi cook nonetheless, even if this isn’t his finest hour. ROBERT While the climax and the inevitable violence is where horror thrillers make their money, the subtlety of the characters’ descents into madness is where the intrigue is built. Send Help takes the concept of corporate power dynamics and subverts it for a real-life survival situation, sold impeccably by the performances of Rachel McAdams and Dylan O’Brien. How their real-life relationship plays into their island interactions, in addition to all of writer/director Sam Raimi's bloody, eye-popping decadence, is what makes this unique and an upper-echelon January release. I would put this film up for immunity to outlast the competition. PAIGE Send Help is a return to form for writer/director Sam Raimi. Though it unfortunately suffers from odd editing choices and outdated, flat out bad VFX, this dark horror comedy is filled with blood, gore, and plenty of Raimi’s signature camp. The story itself is a hell of a ride and is elevated by its two leads, Rachel McAdams and Dylan O’Brien. McAdams delivers a batshit crazy performance that’s so much fun to watch, while O’Brien perfectly nails the role of douchebag boss. While the movie does become a bit repetitive at times, it manages to remain entertaining throughout. BODE It’s been a while since we’ve seen Sam Raimi in such a sadistically funny register, let alone in an R-rated environment altogether. Send Help provides the opportunity for him to do both, and in those moments where the Hollywood genre meister is really cooking, it’s a romp - especially with such committed performances from Rachel McAdams and Dylan O’Brien at the centre of it. And while those moments aren’t sparse, the near two-hour runtime does give way to some repetitiveness and an uneven balance of tone. It’s entertaining, no doubt, but short of greatness. AMARÚ It takes balls to make Rachel McAdams the ugly outcast looked over at work (because, c’mon, it’s Rachel McAdams) but her massive talent makes Send Help ’s stereotypical opening a marvelous set up for hilarious catharsis and delicious pay off. McAdams and Dylan O’Brien’s delirious two-man game is perfect for long-time director/composer collaborators Sam Raimi and Danny Elfman to deliver campy, dark, horror comedy that’s quintessential to their best work. It gets slightly repetitive, and a bit long-in-the-tooth at times, but Send Help is a blast of a canvas for O’Brien, McAdams, Raimi, and Elfman to playfully paint.

Previous Next September 16, 2025 WRITTEN BY: BODE One of the hottest acquisition titles to come out of the festival circuit in 2023 was Richard Linklater’s Hit Man , whose journey started at Venice and continued through the Toronto and New York Film Festivals. I went to a screening during TIFF’s second week, and I remember just how fun it was — especially with a packed audience that ate up every twisty, funny, and downright sexy moment. Although it had pre-sold to a bevy of international distributors, it had yet to land a U.S. distributor, often the first domino to fall. I came out of that screening, not necessarily hoping it would land a good distributor, but feeling that it would, and that it would get the kind of theatrical release a crowd-pleasing flick like it deserved. When it was reported that Netflix picked up the rights for most continents, my heart sank because theatrical isn’t in their business. Streamers have maintained a healthy proliferation when it comes to original movies, with a good amount of their offerings staking claim as awards titles to watch every year. I can still remember when Netflix brought Beasts of No Nation to the fall festivals in 2015, and the level of controversy it generated within the industry due to its planned day-and-date release. It goes without saying that things have changed a lot since then. Just this year, Netflix, Amazon, and Apple all have several big titles from major filmmakers doing the festival rounds. Having seen some of these films already, I can certainly say that the theater should be your first engagement with them, not at home with a ton of distractions around you. However, since some of their theatrical release windows are either too short or too geographically limited, the only chance you may have to check them out on a big screen is if you’re at a major festival. That’s not entirely fair for film fans, and most importantly, it doesn’t give these movies the kind of shelf life they deserve. With all that in mind, I want to make the case for why streamers need to get their tech-brained heads out of the algorithm and FULLY embrace the theatrical experience. (MORE) MONEY If there is one thing Silicon Valley loves, it’s money. Much like Hollywood, it makes their world go round. So, it’s puzzling to me that they wouldn’t want more of it. Moviegoing obviously hasn’t been the same post-COVID. It’s not a weekly habit for the average person like it used to be, and it doesn’t help that fewer movies are being made by the major studios. That last point is important, because the likes of Netflix and Amazon have smartly built their original libraries by making the type of movies Hollywood used to make before they became obsessed with franchises and shared universes. That being said, there is more upside value (if more risk) to a theatrical release than there is for a straight-to-streaming title, which is typically less risky, but yields less profit. Apple is learning this lesson as we speak with the success of F1, which has made over $600 million worldwide. Given that it has been such a financial hit, it’s all the more bizarre that Apple wouldn’t give Spike Lee’s Highest 2 Lowest a similar theatrical run, especially since it reunites the filmmaker with Denzel Washington, still a reliable box office draw. The same could be said for Amazon, which despite its renewed commitment to theatrical after having purchased MGM, dropped films like You’re Cordially Invited and Heads of State (both odd couple comedies with big names) directly on their service. Had they been theatrical, they could’ve boosted the margins on weekend box offices that needed more product. Most importantly, the general public would’ve known these movies actually exist, which leads to my next point… CULTURAL CACHE Ted Sarandos, the co-CEO of Netflix, is known for saying a lot of nonsense regarding the theatrical experience. One of his more notable comments is stating that “Barbenheimer” would’ve been as big a cultural phenomenon had it been streaming-only. That simply isn’t true. In terms of cultural significance and awareness, theatrical releases still hold a cache that streaming-only releases struggle to grasp. You can see those results on a weekly streaming chart, which typically features a few theatrical releases, many of which weren't box office hits at the time of release. Kevin Costner’s costly endeavour, Horizon: An American Saga - Chapter 1 , was a box office flop last year. At the time, any hope of seeing the other chapters seemingly died. But when it hit Netflix in its second window after previously streaming on HBO Max, it became an out-of-nowhere streaming hit because its status as a theatrical release most likely generated more awareness and excitement than it would have received otherwise. Meanwhile, Zack Snyder’s also costly but direct-to-streaming Rebel Moon just kinda came and went since it didn’t have that theatrical clout. Even though Netflix has millions upon millions of subscribers, that doesn’t inherently mean every big movie released directly on their service will have as big a cultural footprint as a genuine box office hit (or even a box office flop). Need more evidence? Netflix released Beverly Hills Cop: Axel F after acquiring it from Paramount in 2019. That is a major legacy sequel that probably could’ve been Eddie Murphy’s Top Gun: Maverick (and Lord knows we need more studio comedies in theatres where they belong). While people certainly watched the film over the July 4th weekend last year when it hit the streaming service, it felt as if no one talked about it afterwards. Similarly, Murphy — a bonafide comedy icon people seem to be clamoring for a comeback from — has had a string of straight-to-streaming movies for both Netflix and Prime Video since 2019, and other than Dolemite is My Name , I can’t recall anyone talking about those either. STREAMING ISN’T A REPLACEMENT From the moment Netflix bulldozed their way into entertainment with their own original content, setting the sea of change that’s still in effect today, it has always resisted the traditional approach. They popularized the binge method for TV. They made day-and-date releases bigger than they ever had been. They helped propagate the end of physical media, the very thing it built its empire on, by shuttering that part of its service in 2023. While streaming services are an extremely convenient tool, that’s mostly all they are: a convenience. Like most technology, we shouldn’t treat them as a replacement for the tried-and-true traditional methods. Netflix sees things differently, though. Unlike Amazon and Apple, their occasional about-faces notwithstanding, it’s clear that Netflix sees theatrical as a threat to their business model. It’s one thing to state that it simply isn’t their approach — Sarandos has been very consistent about that over the years — but it is hard for me to not put on my conspiracy hat when I think about the moment he was quoted as saying the theatrical model is “an outdated concept.” It doesn’t help that when they seemed open to the idea of a proper theatrical release, even partnering with the major chains, they quickly went back to their stubborn ways. I’m referring, of course, to their handling of Glass Onion: A Knives Out Mystery . Despite its success on fewer than 1,000 screens over the Thanksgiving holiday and popular demand to extend its run before it hit the site in December, Netflix stuck to their original plan. Not only did that arguably leave tons of money on the table, but it made the sequel to one of 2019’s most successful movies feel like less of an event. Had director Rian Johnson stuck with Lionsgate, who released the original film, we all know things would have gone down a lot differently. Look, I remember rolling my eyes at all the worry within the industry at the time, especially since simultaneous releases had existed for almost a decade at that point without threatening the business whatsoever. But that was 2015, when moviegoing was still at its peak, regardless of the size or genre of the film. It’s 2025 now. Netflix’s resistance to movie theaters may not have been alarming then, but there is an argument to be made that the alarm bells are ringing now given that they’ve released plenty of movies that likely would have done well in theaters. In the next few months, Netflix has Guillermo Del Toro’s Frankenstein and Wake Up Dead Man: A Knives Out Mystery , not to mention Noah Baumbach’s star-studded dramedy Jay Kelly and Kathryn Bigelow’s latest thriller, A House of Dynamite . These are showy titles worthy for a proper theatrical release, but, of course, they won’t get one. Given their limited screens and the number of days they’re in the cinema (the latter of which is why major theatre chains like AMC and Cineplex refuse to show Netflix films), their quick-hitter theatrical releases are nothing more but press for their eventual streaming releases and an attempt to qualify for awards season. It’s truly a shame, too, because there’s still no better way to watch a movie than in a theatre. It’s not just about quality or community. It’s also about choice and accessibility. It’s about ensuring that there’s still a future for the big screen, no matter how much things change.

BARRY: THE FINAL SEASON Starring: Bill Hader, Stephen Root, Sarah Goldberg, Anthony Carrigan, Henry Winkler, and Robert Wisdom Creators: Alec Berg and Bill Hader ADRIANO Barry has probably been my favourite show since its first season aired in 2018, and I’m so impressed with where Bill Hader and Alec Berg have taken the series relative to where it started. Bill Hader is easily the most exciting director working today, and his shift to straight-up horror in some scenes is a masterclass in the craft. The show’s themes about the performances we put on for ourselves and the ones we put on for the people around us is fully realized by the series' final moments, which makes for a purposefully unsatisfying but perfect finale. QUENTIN As terrific as the first three seasons of Barry are, my thoughts on the series’ fourth and final season are harder to define. Parts of it are exactly what you want and expect it to be, but once a confusing-in-the-moment time jump is revealed, the story loses some momentum. This is amplified by generally less humor than prior seasons, including not near enough NoHo Hank (Anthony Carrigan). The finale is where my real internal debate lies, though. I’ve gone from loving the final scenes to hating them in equal measure since I finished watching, which, admittedly, is fitting because leaving the audience conflicted is classic Barry .

NICKEL BOYS Starring: Ethan Herisse, Brandon Wilson, Hamish Linklater, Fred Hechinger, Daveed Diggs, and Aunjanue Ellis-Taylor Director: RaMell Ross ADRIANO A soaring ambition from debut director RaMell Ross, Nickel Boys is a staggering and profound accomplishment. I surprisingly adjusted quickly to its first-person perspective, allowing the film to use its experimental narrative to avoid any of the trappings we may be used to from films that tackle historical atrocities. If anything, Nickel Boys feels like an antithesis to black trauma porn, instead coming across as a beautiful film about friendship and survival through choosing love over despair. I can see some struggling with the structure, but if you can get sucked into this one-of-a-kind experience, it'll be worthwhile. AMARÚ Nickel Boys is a creative feast to witness due to the visual choices director RaMell Ross uses to relay the harrowing situation of titular characters, Elwood (Ethan Herisse) and Turner (Brandon Wilson). The alternating first-person perspective is a powerful tool used to get through a fairly tough watch - tough in both its content and pacing. It’s a lot watching another movie about the atrocities of this country’s past coupled with watching a personal day-to-day-in-the-life narrative; however, the brilliant performances and inspired direction make this one-time watch a must-see experience. QUENTIN Writer-director RaMell Ross deserves immense credit for having the balls to attempt something as incredibly ambitious as Nickel Boys because it truly is refreshing to see an innovative approach to filmmaking. That said, his choice to root this adaptation in a first-person perspective (amongst other flourishes) didn’t work for me. Like, at all . It’s disorienting and often confusing, keeping me entirely at arm’s length from what should have been an emotionally moving story. It’s an overlong and arduous film that would play better during an exhibit at the Smithsonian’s National Museum of African American History and Culture than at multiplexes. “A for effort,” as they say…

MARVEL ZOMBIES Starring: Iman Vellani, David Harbour, Simu Liu, Awkwafina, Dominique Thorne, Hailee Steinfeld, Paul Rudd, Elizabeth Olsen, Hudson Thames, Florence Pugh, Todd Williams and Tessa Thompson Creator: Zeb Wells AMARÚ Marvel Animation continues to fall into the trap of too many characters in too little time, but Marvel Zombies seems to have learned a little from past mistakes by leaning into its strengths (suspenseful R-rated action) and trusting its audience (stop… explaining… EVERYTHING). So while there are still instances of unnecessary exposition and hit-and-miss humor, the gruesome action, overarching storytelling, and full embrace of bizarro zombieland gives MCU alum like Iman Vellani breathing room to charm us again. The voice-actors mimicking original stars don’t fare as well (except Todd Williams as Blade, he’s awesome), but this is a step in a better direction for Marvel Animation. ROBERT What If…? never struck me as a project that lends itself to spinoffs because it isn’t canon and exists as a quaint, alternative look into wild multiverses. However, the zombie episode was immensely popular and bound to beloved source material, so that is the obvious choice. Marvel Zombies blends gruesome action with more heartfelt storytelling in four episodes than you get in the final four seasons of The Walking Dead . Kamala Khan (Iman Vellani) has never been better, and she was already well-regarded; same goes for Scarlet Witch (Elizabeth Olsen) as a villain. Thus, use your fully functioning brains and ingest this surprising animation.

BABYLON Starring: Margot Robbie, Diego Calva, Brad Pitt, Jean Smart, Jovan Adepo, and Li Jun Li Director: Damien Chazelle NICK I've never been on drugs, but I'm fairly certain that the cinematic experience of Babylon is what a heavy trip feels like. This thing is wild. From the opening scene, it kicks into high gear and stays on that track for over three hours. The cast is stacked too, with a few performances worthy of awards consideration (Margot Robbie, in particular, is excellent). Director Damien Chazelle may have made yet another film about dreamers, but this one is easily his most chaotic, which really works in the film’s favour. Babylon fires on all cylinders, and is another dynamite addition to Chazelle's already impressive resume. ADRIANO Babylon is a lot. Writer/director Damien Chazelle attempts to do way too much, which leaves some of the results being underbaked. Even with a 3-hour runtime, interesting key characters and themes don’t feel completely fleshed out, leaving the film feeling bloated. However, on a technical aspect, I have no notes for Chazelle. The atmosphere is debaucherous and energetic, led to perfection by Diego Calva and Margot Robbie, and the absurdity never feels like it’s extreme for the sake of being extreme. Instead, it contributes to the film’s message regarding the beauty and, most importantly, the ugliness of Hollywood. AMARÚ Babylon is three hours of unfiltered, unfettered chaos, but it’s the quiet moments that are the loudest. Margot Robbie, Brad Pitt, and Diego Calva all command the screen, but it’s Li Jun Li and Jovan Adepo that command your attention. Director Damien Chazelle crafted a decadent, outrageous, and hilariously exorbitant love letter to the magic and mayhem of Hollywood, but it’s one of the final shots on a singular face that will mean the most to movie lovers. Come for the crazy, stay for the silence, but whatever you connect to, just sit back and let it wash over you. JTE Babylon wants to be a kinetic, drug-fueled ride through Old Hollywood, but, instead, it's a lifeless and empty 3-hour drag. Director Damien Chazelle attempts a film in the vein of Martin Scorsese's The Wolf of Wall Street or Paul Thomas Anderson's Boogie Nights , but the thing that made those films so successful was the characters that inhabited the intoxicating nights and heightened debauchery. However, in Babylon , I didn't care for any of the characters, with each one feeling like a boring stereotype. I could see where their story was going within the first 15 minutes of the film. DARRYL Babylon as a whole feels like an empty affair. Though technically dazzling, director Damien Chazelle’s impressive cinematography and production design aren’t enough to cover what is essentially a run-of-the-mill Old Hollywood story with little new to add. The opening scenes of depravity and debauchery start the film with a jolt of energy before losing momentum in the second act, ending with a heavy-handed montage dedicated to the power of cinema. At three hours, it’s a roller-coaster ride of a movie, and for better or for worse, Babylon feels its length, which will leave some viewers in a state of confusion as the credits roll. JACOB Damien Chazelle’s Babylon may be his most ambitious, daring, and passionate movie to date, and whether it’s stronger or weaker than his other films should be of little consequence to those who manage to make it to the credits. The first half is a cacophonous hurricane of sex, sound, and pure energy, while the second half is about the slow but steady demise of stardom, yet Margot Robbie and Diego Calva carry it all the way to the finish. Linus Sandgren’s cinematography delights in the long shot, and Justin Hurwitz’ mammoth score (specifically “Voodoo Mama”) may be the best piece of music I’ve heard this year.

WONDLA: SEASON TWO Starring: Jeanine Mason, Teri Hatcher, Brad Garrett, Gary Anthony Williams, D.C. Douglas, John Kim, Ana Villafañe, and Alan Tudyk Creator: Bobs Gannaway AMARÚ While Wondla Season One had a good mix of family-friendly television and adult-themed stakes, Season Two leans a little too heavily on the family-friendly early on. The first season established its commitment to darker themes presented to kids in an intelligent and thought-provoking way, and while this season provides some authentic scares and thrills as the mystery unravels, especially in later episodes, early conflicts are much more easily resolved. But stick through those early growing pains, because even though it takes some time to quell Q’s previous Paw Patrol comments, by the end, Wondla proves that its commitment is steady. Check out our reviews for Season One HERE .