MINX: SEASON TWO Starring: Ophelia Lovibond, Jake Johnson, Idara Victor, Jessica Lowe, Oscar Montoya, and Lennon Parham Creator: Ellen Rapoport QUENTIN In its second season, Minx , which had a bumpy ride from renewed to canceled to a new network in a matter of months, still ably explores themes of women's sexual liberation and feminism in the 70s. However, it’s not quite as sharp or funny this time around, seemingly content to play it relatively safe by leaning more into its soapier elements. Plus, some story threads feel half-done, mostly because the series just has too many characters to give them all equal time. That said, it's not a bad show now, but Season Two is a bit of a sophomore slump.

MADE FOR LOVE: SEASON ONE Starring: Cristin Milioti, Ray Romano, Billy Magnussen, Dan Bakkedahl, Noma Dumezweni, and Caleb Foote Creator: Dean Bakopoulos and Christina Lee QUENTIN Made for Love is another show that successfully lends itself to obvious Black Mirror comparisons. Yes, that is a compliment. It uses a darkly comedic tone and quirky sensibilities to show us a woman's escape from a tech-invasive relationship that is incredibly toxic and controlling. Cristin Milioti, who has been killing it recently between this and Palm Springs , balances the weighty seriousness and oddball humor perfectly with her relatable persona and natural charm, while Ray Romano shines in a role that could have easily been a one-joke character. It's incredibly bingeworthy, with a quasi-cliffhanger that effortlessly sets up a second season.

FOR ALL MANKIND: SEASON FOUR Starring: Joel Kinnaman, Toby Kebbell, Wrenn Schmidt, Krys Marshall, Cynthy Wu, Coral Peña, Edi Gathegi, Tyner Rushing, Svetlana Efremova, and Daniel Stern Creators: Ronald D. Moore, Matt Wolpert, and Ben Nedivi QUENTIN After another time jump, this time to 2003, For All Mankind seems somewhat lost in its fourth season. Most of the original characters are gone, except for Ed and Margo (Joel Kinnaman and Wrenn Schmidt, respectively, unconvincingly playing characters twice their real ages), and the story has transitioned away from astronauts in an active space race to new characters carrying out the day-to-day items that occur once the race is over. Plots revolving around the working conditions of the maintenance staff on Mars, a smuggling ring, and political summits aren’t what I want from this show. I’ll stick around for Season Five, but it’s on notice.

WHAT IF...?: SEASON THREE Starring: Jeffrey Wright AMARÚ What If…? : Season Three had me in the first half, not gonna lie. They chose silliness up front because they knew the heavy was coming in the latter half. It doesn’t reach “Supreme Strange” levels, but the last four episodes do make up for a downright boring and uneventful start. As a whole, I enjoyed six of the eight final episodes to varying degrees, with the final four being solid stories, both as one-offs and connective tissue. Overall, I leave the series with one prevailing thought: 2016's Agent Carter was given the biggest shaft and Hayley Atwell deserved better. QUENTIN Marvel’s What If…? has always felt like a series that lacked enthusiasm from its creators — something they were forced to do rather than something they were genuinely interested in doing. I mean, the premise is rich with amazing opportunity, yet the writers almost always pick the most uninteresting branch realities to explore. Season Three is the worst transgressor of this crime as it dives into randomness like Agatha Harkness (Kathryn Hahn) and Kingo (Kumail Nanjiani) in Hollywood, and Howard the Duck (Seth Green) marrying Darcy Lewis (Kat Dennings). Honestly, it was a struggle to watch. After three seasons of diminishing returns, I’m not sad it’s ending.

Previous Next March 2, 2025 WRITTEN BY: THE BITESIZE CREW Presenting our 4th 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. Of note, though, we made two changes this year… One, instead of doing a write-up for every single nominee, which last year resulted in an 8500-word article that was definitely a lot to read, we decided to just do write-ups for the winners. Also, if you click on the movie name above the write-up or in the “Other Nominees” list, you’ll be redirected to our posted reviews for that movie. Neat, right? That said, if you like the old way better, let us know on social media! Two, instead of having a category for Best Animated Feature, we decided to open that category up to all family-friendly movies. To be eligible, it must be a film aimed at families with a rating of G or PG, which means everything from Harold and the Purple Crayon to The Garfield Movie were eligible, but Memoir of a Snail and Marvel movies were not. Why the change? Truth be told, we found the pool of animated movies seen by our writers was on the smaller side, so the nominees ended up being “seen by the most writers” as opposed to any real mark of quality. So, introducing the FTK (For the Kids? Or maybe something else *wink*) Award! So, without further ado, here we go! BEST MUSIC CHALLENGERS I don’t know what the Academy was thinking, but we weren’t going to let this hypnotic, pitch-perfect score for the energetic, sex-fueled (YES, Q, SEX-FUELED), and propulsive Challengers go unnoticed. Trent Reznor and Atticus Ross have proven time and again that they can fit any style of film, creating a score that feels like a character… and, boy, do they deliver once again with immaculate execution. The score is dangerous and lively, making the “love” triangle between Tashi (Zendaya), Art (Mike Faist), and Patrick (Josh O’Connor) feel that much more volatile, all the way to one of 2024’s most heart-racing finales. That scene will live amongst the sports movie greats, and the score is a big reason for it. Bravo, gentlemen, you can take this Bitesize award and place it alongside your other Oscars. — Amarú Other Nominees: KNEECAP BETTER MAN DUNE: PART TWO DEADPOOL & WOLVERINE BREAKTHROUGH ARTIST MIKEY MADISON ( ANORA ) When I first saw Anora , I thought Mikey Madison gave a very good lead performance; however, because of the authenticity Sean Baker created, I unfairly assumed this was an example of someone exactly suited to a role that wasn't far off from who they are in real life — the “playing themselves” criticism. Then I started watching Madison in interviews, learning not only how different she is from her film counterpart, but how much she put into this character. Whether it’s her emotional outbursts, her comedic sensibilities, or her more tender side, Ani requires a lot of Madison, and she nails each aspect. I've learned of her range, I've realized her star power, and I apologize for ever doubting any aspect of this performance. Mikey Madison is the real deal, and she has arrived. — Nick Other Nominees: CLARENCE MACLIN ( SING SING ) DAVID JONSSON ( ALIEN: ROMULUS ) WILLA FITZGERALD ( STRANGE DARLING ) YURA BORISOV ( ANORA ) HIDDEN GEM STRANGE DARLING In a year when most horror offerings were overshadowed by Longlegs and The Substance , Strange Darling flew under the radar due to its lack of star power, non-existent marketing, and a late summer release opposite the well-received, star-driven Blink Twice . Those who let Strange Darling slip through the cracks should make every effort to rectify that immediately because it boasts terrific performances from Kyle Gallner and (especially) Willa Fitzgerald, the best use of non-linear storytelling outside of a Quentin Tarantino film, a brilliant subversion of expectations, and a 70s-inspired vibe that recalls The Texas Chainsaw Massacre . On top of that, it’s sexy, twisty, intense, and thoroughly engaging. It’s more of a thriller than a “scary” horror movie, but that doesn’t mean it’s without moments of terror. Either way, whatever you call it, be sure to call it one of the best genre movies of 2024, if not the decade. And you’ve probably never heard of it until now. — Quentin Other Nominees: GHOSTLIGHT WICKED LITTLE LETTERS HOW TO HAVE SEX CADDO LAKE IN ALL SERIOUSNESS AWARD CIVIL WAR Every year we have a statement film in our awards that the Academy seemingly forgot about. This year, that film is Civil War . Receiving three Bitesize Award nominations, we all agreed Civil War was underrated. With the level of tension permeating throughout, paired with the real-life political possibilities, one could argue that this belongs in the Adrenaline or even Nightmare categories, but we landed on In All Seriousness, our drama category. Either way, this is one of the best films of the year and a return to form for director Alex Garland following the underwhelming Men . — Nick Other Nominees: SING SING CONCLAVE EMILIA PÉREZ THE APPRENTICE ADRENALINE AWARD DUNE: PART TWO One of the weirdest complaints I heard about Dune: Part One was that it was mostly talking and not a lot of action or thrills, which I don't get since almost the entire back half of the film had action. Nevertheless, those who complained must feel satisfied now. Dune: Part Two has some moments where my adrenaline reached unhealthy highs. The scene where Paul Atreides (Timothée Chalamet) first rides a sandworm is more than enough to earn this victory, but considering the level of tension throughout the film, not to mention the setpieces (the ambush on the Sardaukar? The fight between Paul Atreides and Feyd-Rautha (Austin Butler)?), director Denis Villeneuve delivers more than enough to keep the thrill junkie in you satisfied while we wait for Part Three , a.k.a Messiah . — Adriano Other Nominees: FURIOSA: A MAD MAX SAGA DEADPOOL & WOLVERINE THE FALL GUY REBEL RIDGE LAUGH OUT LOUD AWARD ANORA For all the tragic undertones and darkness that hovers over Anora , at the end of the day, this is a screwball comedy… and one hell of a hilarious one, too. Director Sean Baker has always been good at this kind of absurdist humour while still staying grounded, and Anora takes it up a huge notch. The 20-minute break-in scene alone proves my point, as the entire sequence is so chaotic that you can't help but laugh. Even outside that sequence, especially in the film’s second half, the cast and Baker are delivering non-stop hilarity and one-liners that made me and every audience I watched this movie with belt out in laughter. — Adriano Other Nominees: SATURDAY NIGHT HIT MAN WICKED LITTLE LETTERS MY OLD ASS NIGHTMARE AWARD THE SUBSTANCE The Substance was one of the most exciting, shocking, and talked about films of 2024. Coralie Fargeat’s incredible body horror savagely attacks and satirises patriarchal beauty standards, ageism, and misogyny in Hollywood whilst also being outrageously entertaining and indulgently stomach-turning. I pride myself on being able to watch horror that makes most people cover their eyes, but even I couldn’t handle the visceral, all-encompassing nightmare of The Substance , which is to say it featured some of the most spectacular physical effects I’ve ever seen. Together with the thrilling story, distinctive visual style, evocative set design, and the phenomenal performances from Demi Moore and Margaret Qualley, The Substance is a clear winner. — Katie Other Nominees: STRANGE DARLING ALIEN: ROMULUS LONGLEGS NOSFERATU FTK AWARD FLOW As a 43-year-old childless man, family movies don’t do much for me anymore. It’s not that they’re bad, but most of them either explore themes I don’t relate to ( Inside Out 2 ) or feel like mindless toy commercials ( Sonic the Hedgehog 3 ). Plus, I’m an old cynic who has seen and done some things. PG- and G-rated entertainment typically comes across as trivial and neutered to me. That said, Flow is a modern masterpiece that already is one of my favorite animated movies of all time. I’m sure the fact that I have a cat, I played Stray , and I’m constantly having cat videos shoved in my face helped Flow strike a nerve, but the movie nonetheless remains a visually beautiful tale of found family, class dynamics, survival, and the effects of climate change. Despite there being zero dialogue, the film provides surprisingly deep characterizations that lead to spellbinding and emotional attachments to the animals on screen as they navigate some stressful situations. Cute enough for the youngest toddlers yet poignant enough for the most jaded adults, Flow is the rare family film that truly is for the whole family. — Quentin Other Nominees: THE WILD ROBOT WICKED INSIDE OUT 2 IF BEST DIRECTOR DENIS VILLENEUVE ( DUNE: PART TWO ) I haven’t been shy about the fact that I didn't love Dune: Part One (I liked it, just didn’t love it), so when the outcry came for Denis Villeneuve’s snub last year, I wasn’t stunned. After Dune: Part Two , I’m now stunned. Aside from the fact that this sequel is far greater than its predecessor, the idea that you could nominate anything from this film and have it not be Villeneuve is nuts. Thankfully, we here at Bitesize have rectified that with not only a nomination, but the win! Dune: Part Two is one of the best directed films I’ve seen in a very long time, especially considering everything that needed to go right to make it work. The film is visually sensational and isn’t dragged down with the lore and exposition of Part One , doing it all while staying true to the source material. We obviously haven’t seen Messiah yet, but if it reaches the heights of this one and Villeneuve doesn’t get his flowers, I think we riot. — Nick Other Nominees: CORALIE FARGEAT ( THE SUBSTANCE ) ALEX GARLAND ( CIVIL WAR ) SEAN BAKER ( ANORA ) BRADY CORBET ( THE BRUTALIST ) BEST SUPPORTING ACTRESS ZOE SALDAÑA ( EMILIA PÉREZ ) Zoe Saldaña might be one of this generation’s most overlooked actresses when it comes to just how successful she truly has been, having huge roles in the top three highest grossing movies of all time (both Avatar films and Avengers: Endgame ) and four of the top six when you add Infinity War , not to mention roles in other successful franchises like Star Trek and Pirates of the Caribbean . She is a franchise queen who has never phoned in a performance, but being that much of her work is in blockbuster tentpoles, her brilliance is glossed over. Not this time, and not in THIS movie. Truth be told, she was almost overshadowed again for negative reasons beyond her control, but I’m so glad that her powerful performance, utter dedication, and absolute “It” factor that comes from her acting in her native language cut through all the noise. No matter what you may think of the film, there is no denying that Saldaña acted her ass off. She would be a contender in this category or as lead actress, which she basically performed as for the entire runtime. — Amarú Other Nominees: FELICITY JONES ( THE BRUTALIST ) MARGARET QUALLEY ( THE SUBSTANCE ) NATASHA LYONNE ( HIS THREE DAUGHTERS ) ARIANA GRANDE ( WICKED ) BEST SUPPORTING ACTOR JEREMY STRONG ( THE APPRENTICE ) Jeremy Strong’s performance as Donald Trump’s (Sebastian Stan) deplorable mentor Roy Cohn is one of my favourite performances of 2024. For me, the success of the entire film rests on how morbidly fascinating Cohn’s relationship with Trump was, which is driven by Strong’s chillingly compelling presence. He approaches the character with a sense of restraint and ever-present threat, his expression blank and controlled yet emanating evil. However, somehow, he also manages to elicit a semblance of empathy from me, which is really saying something considering who he’s playing. Furthermore, it's incredibly impressive that Strong manages to stand out alongside Stan’s career-best performance, supporting the main character whilst never being overshadowed. — Katie Other Nominees: CHRIS HEMSWORTH ( FURIOSA: A MAD MAX SAGA ) CLARENCE MACLIN ( SING SING ) JESSE PLEMONS ( CIVIL WAR ) YURA BORISOV ( ANORA ) BEST ACTRESS MIKEY MADISON ( ANORA ) In a year full of impressive performances, my favorite performance of the year is Mikey Madison's portrayal of Ani Mikheeva in Sean Baker's Anora . Her character may entice you with her beauty and charm at first, but as the story progresses, you start to adore the complexity and imperfections that Madison was able to bring to the role. Her portrayal is not only incredibly nuanced, but also invigorating and admirable. Madison proved that she is a formidable force and an actress who should be taken seriously in this business. After this star-making performance, the sky's the limit for her, and I can’t wait to see what she tackles next. — Paige Other Nominees: DEMI MOORE ( THE SUBSTANCE ) KARLA SOFÍA GASCÓN ( EMILIA PÉREZ ) WILLA FITZGERALD ( STRANGE DARLING ) NAOMI SCOTT ( SMILE 2 ) BEST ACTOR SEBASTIAN STAN ( THE APPRENTICE ) Regardless of what your politics may be, I think most of us would agree that, as a society, we’ve grown a little tired of seeing Donald Trump and Donald Trump impressions on our screens over the past eight years. Whether it be contentious White House press conferences or Alec Baldwin on Saturday Night Live , I think we’re all just a little over it. But that makes what Sebastian Stan does as Trump in The Apprentice all the more impressive. Despite the constant media barrage of Trump (real person and impersonated), Stan shines so brightly as the real estate mogul turned politician that you’re genuinely engaged in his rise to power. You want to watch, especially as Stan imbues the controversial President with nuance and layers that make him surprisingly sympathetic even though the portrait being painted isn’t at all flattering. The fact that he’s able to capture Trump’s mannerisms and speaking cadence without slipping into parody only adds to just how phenomenal Stan is in this movie. — Quentin Other Nominees: ADRIEN BRODY ( THE BRUTALIST ) TIMOTHÉE CHALAMET ( A COMPLETE UNKNOWN ) COLMAN DOMINGO ( SING SING ) RALPH FIENNES ( CONCLAVE ) BEST ENSEMBLE SATURDAY NIGHT When I saw Nicholas Braun pop up twice as two different characters in Saturday Night , I had to do a double take to make sure I was seeing things correctly. By then, though, I was already all in with the spirit-inhabiting ensemble I had been thoroughly entertained by. The surprise of seeing him play Jim Henson after already getting used to and loving his Andy Kaufman just solidified how great this cast is. Even more, I wasn’t sitting there saying, “oh wow, Lamorne Morris is a great Garrett Morris,” or “Dylan O’Brien is the perfect Dan Aykroyd.” Instead, I simply was enthralled by their singular performances that moved this extremely well-paced thrill ride forward with perfect comedic timing, electric chemistry, and total dedication to matching each other’s chaos, all lead by Gabrielle LaBelle’s excellent performance as Lorne Michaels. Yeah, I knew who each of these actors were playing, but I didn’t feel like they were trying to imitate the SNL legends, only that they were trying to capture their essence. They delivered on all fronts. — Amarú Other Nominees: SING SING CONCLAVE ANORA DUNE: PART TWO BEST PICTURE DUNE: PART TWO Denis Villeneuve’s second installment of this franchise is true cinema, solidifying itself among the best sci-fi adaptations to ever grace the big screen. Beyond the film’s astonishing visual spectacle, exquisite set pieces, breathtaking cinematography by Greig Fraser, and powerful score by Hans Zimmer, Dune: Part Two not only builds on the political and social commentary introduced in Part One , but on real world themes we face today. Every line manages to have significance, and every frame has magnitude. From the captivating performances from the entire ensemble cast to Villeneuve's brilliant mind as a storyteller, this is a film that us cinephiles will look back on in 50 years and still consider to be a masterpiece. — Paige Other Nominees: THE SUBSTANCE ANORA CONCLAVE CIVIL WAR

RUNNING POINT: SEASON TWO Starring: Kate Hudson, Justin Theroux, Drew Tarver, Scott MacArthur, Fabrizio Guido, Brenda Song, Uche Agada, Chet Hanks, Jay Ellis, Max Greenfield, and Ray Romano Creators: Elaine Ko, Mindy Kaling, Ike Barinholtz, and David Stassen NICK Running Point was a nice surprise last year, and the Netflix series picks up where it left off in Season Two. Without the surprise aspect, however, it's missing a little of its shine. The main issue with this season is the new storylines feel like they're picked up and dropped on a whim with little lasting consequence. Even though lots of things happen, it almost feels like nothing does. That said, Kate Hudson continues to be great in the lead role, and it’s nice seeing a female sports executive spotlighted. I’ll watch Season Three, but it needs to be a little more concise. Check out our reviews for Season One HERE .

THE FRANCHISE: SEASON ONE Starring: Himesh Patel, Aya Cash, Daniel Brühl, Billy Magnussen, Richard E. Grant, Lolly Adefope, Jessica Hynes, Darren Goldstein, and Isaac Powell Creator: Jon Brown QUENTIN Much like Veep , which also boasted Armando Iannucci as a writer and executive producer, The Franchise has a premise — the on-set shenanigans that occur during the production of a shared-universe superhero movie — that is ripe for parody. Also (again, much like Veep ), there are tremendously quirky characters, sharp satire galore, and hilariously caustic one-liners. So, I’m puzzled as to why I don’t exactly love this series in the way I loved Veep . It can be emptily entertaining, sure, but for some reason, there is a disconnect that prevents me from fully giving myself over to it. Richard E. Grant is fantastic, though. AMARÚ The Franchise takes everything you have ever seen about the rise and supposed death of the superhero genre, makes a bit out of it, then cranks the sarcasm to 11. Initially, it’s a bit off-putting to make every reddit bro, ignorant executive, diva actor, exasperated fandom, and on-set disaster so dramatically ridiculous, but with the short episode runtime and cast’s impeccable timing, it keeps getting funnier with each ensuing episode. Binge-watching the series works better than waiting a week for the next 20 minutes, so catching the series now could be a nice and easy two-hour laugh fest on a weekend afternoon.

HOUSE OF THE DRAGON: SEASON ONE Starring: Matt Smith, Paddy Considine, Rhys Ifans, Emma D’Arcy, Olivia Cooke, Milly Alcock, Emily Carey, Fabien Frankel, Eve Best, Steve Toussaint, Matthew Needham, and Graham McTavish Creators: Ryan J. Condal, George R. R. Martin AMARÚ Y’all remember all that talk about not being interested in returning to Westeros after the lackluster final seasons of Game of Thrones ? Yea, me neither. House of the Dragon quickly re-establishes the fight for The Iron Throne as event television by building on its predecessor’s strength of storytelling and brutality. What surprised me, however, was that after only one season, and with multiple times jumps and cast changes, it may have crafted more depth of character and emotion than Thrones . Performances from Paddy Considine (Viserys) and Matt Smith (Daemon), amongst others, had me glued to HBO Max each and every week. ADRIANO I don’t see House Of The Dragon working for those who weren’t into Game Of Thrones , but as a fan, it’s a wonderful return to Westeros. I admittedly didn’t love all the visuals, making me question where the budget went at times, but the show’s storytelling brings us right back to what fans loved about the original, not to mention the wicked conflicts, excellent action, and flawless cast (Paddy Considine and Milly Alcock are standouts). When the season ended, I was completely enthralled, but upset that I now have to wait until 2024 for Season Two. QUENTIN Although not perfect, House of the Dragon is a worthy successor to Game of Thrones . The story is a little rushed, as it uses its ten episodes to cover a 20-year span through multiple jarring time jumps, and it often feels like a historical prologue setting the stage for future seasons. However, the acting, action, medieval intrigue, and characterizations are on par with the parent show’s early seasons. There are subtle Easter Eggs aplenty too. My only other complaint (time jumps aside) is that the dragons look a tad cartoony at times. Overall, it’s a strong start full of potential for the franchise’s second era. PAIGE House of the Dragon soars, and is one of the best shows on TV this year, hands down! This prequel about the prestigious Targaryen house is so intriguing that it honestly may be better than its predecessor’s first season. Dragon breathes new life into the world of Westeros with the help of brilliant visuals and superb storytelling, especially the time jumps that feel effortless due to the characters’ level of depth and clearly articulated motives. This show is just so compelling and breathtaking that I can’t wait for what comes next. P.S. Team Black all day!

BETTER CALL SAUL: THE COMPLETE FINAL SEASON Starring: Bob Odenkirk, Jonathan Banks, Rhea Seehorn, Patrick Fabian, Michael Mando, Tony Dalton, and Giancarlo Esposito Creators: Vince Gilligan and Peter Gould QUENTIN PART ONE Despite having some idea of how things must turn out (and the fact that they did the dumb “split final season” thing), Part One of Better Call Saul ’s final season manages to tell a mostly complete story full of tension, schemes, laughs, and emotion. This batch of episodes stands on their own more than any other “Part One” I’ve seen by never feeling like they exist solely to set up Part Two. Everyone involved does typically excellent work, but special shoutout to Patrick Fabian, who may have earned an Emmy nomination with his work in the mid-season finale. Overall, a terrific beginning of the end. PART TWO While the structure of Part Two leaves a little something to be desired (the first two episodes feel like Part One’s finale followed by four episodes of black and white epilogue), there is no denying the masterclass this series has given in handling both a prequel and a final season. It’s tense, emotional, and perfectly acted, all while delivering satisfying ends to Kim (Rhea Seehorn) and Jimmy (Bob Odenkirk). Admittedly, the epilogue aspect makes it a tad anticlimactic towards the end, and some may claim it’s too predictable, but these minor complaints don’t detract from what has been one of the best shows this century.

THE BONDSMAN Cast: Kevin Bacon, Jennifer Nettles, Beth Grant, Damon Herriman, Maxwell Jenkins, and Jolene Purdy Creator: Grainger David QUENTIN Despite Kevin Bacon committing to the role as a backwoods quasi-dirtbag, The Bondsman is too scattershot to even be dumb fun. With only 30 minutes per episode, there simply isn’t enough time for the humor, character development, horror aspects, twists, and overall story to coalesce in a way that truly ropes the viewer in. The poor balance between the “demon of the week” approach and Hub’s (Bacon) second chance at life with his estranged family make it that neither one is super compelling. It also doesn’t help that it’s very similar to R.I.P.D. , and anything that makes you think of that movie can’t be super great. ROBERT Did you like R.I.P.D .? Probably not, but imagine if they extended the narrative as a shortened season of streaming TV, spiced it up with gore and profanity, and moved Kevin Bacon out of the villain role and into the lead. Would that do anything for you? Well, it did for me because The Bondsman gives off some serious Supernatural vibes, and the cast chemistry, especially between Bacon and Beth Grant as his roped-into-demon-killing mom, are the true advantage for the show. Since the episodes are short, no time is wasted with exposition, so no need to skip this one.

Previous Next Spooky season is upon us and with the upcoming release of Halloween Ends, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Horror Villains. Each writer ranks his or her top 15 characters in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. SAM (TRICK 'R TREAT) Sam has become an iconic character for Halloween as Trick 'r Treat is one of the biggest cult films of the season. The comeuppance he delivers to those who break the rules of Halloween is carried out with his own brand of violence, which is all the more unsettling because of his childlike appearance... at least until he removes his mask. Let's hope the long rumoured sequel comes to fruition because we definitely need more Sam. - Nick 4. THE THING The Thing is director John Carpenter’s creature feature masterpiece, and the reason The Thing is so terrifying as a character is its mystery. The suspense and terror this horrifying alien parasite presents while watching is rooted in little more than paranoia. At first, you’re not even sure who or what The Thing is, but when it reveals itself in its frightening forms, you’re in for an unsettling ride. I’d advise getting your wits and flamethrowers ready because the unforgettable creature design crafted by Rob Bottin is bloody petrifying! - Paige 3. CHUCKY (CHILD'S PLAY) Chucky has been active for more than 30 years and gone through multiple redesigns, but at the end of the day, he’s always been the vessel for serial killer Charles Lee Ray. A killer whose motivations have evolved with every new piece of lore, he remains one of the most interesting and multifaceted horror icons out there while still being a sadistic and truly evil character. He’s got the iconic look, laugh, and family, making him the most underrated horror killer by far. - Joseph 2. MICHAEL MYERS (HALLOWEEN) Michael Myers is the epitome of pure evil. While it’s not totally clear if Myers borders on the supernatural, by all accounts, he is just a human being…a human who kills for the sake of killing. No rhyme or reason to his murder sprees, he has haunted the town of Haddonfield through 25 years of Halloween films, properly freaking us out with his iconic look and sheer brutality. He’s a silent killer you’d be foolish not to be freaked out by. - Adriano 1. FREDDY KRUEGER (A NIGHTMARE ON ELM STREET) Through seven original franchise movies, a television show, a pseudo-spinoff, and a reboot, Freddy Krueger, in both his most horrific and humorously sadistic forms, has always been, quite literally, the stuff nightmares are made of. “The Son of 100 Maniacs” turned child predator is nearly inescapable because everyone falls asleep eventually, and he blurs the line between dreams and reality until it’s too late. With his incredibly dark backstory, iconic glove, tattered sweater, and wide-brimmed hat, he is an inevitable death for the children of Springwood. One, two, Freddy’s coming for you? …goddamn right he is. - Quentin HONORABLE MENTIONS PENNYWISE NORMAN BATES JIGSAW ANNIE WILKES GHOSTFACE Photo Credits: Photo 1 - Legendary Pictures; Photo 2 , 4 - Universal Pictures; Photo 3 - Syfy; Photo 5 - New Line Cinema

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.