BASED ON A TRUE STORY: SEASON ONE Starring: Kaley Cuoco, Chris Messina, Tom Bateman, Priscilla Quintana, Liana Liberato, and Natalia Dyer Creator: Craig Rosenberg QUENTIN I imagine Based on a True Story was pitched as “Only Murders in the Building , but younger and hipper!” since it mixes Only Murders with Santa Clarita Diet vibes. Overall, it’s a fairly mediocre series, with the only thing worth mentioning being Tom Bateman, who plays his character with a devilish coolness. However, that doesn’t mean the series is a waste of time. It’s just that, as a satire on the true crime genre and true crime diehards, it already feels a bit stale, while the rest is merely surface-level serviceable. Still, as a half-hour summer diversion, it’s good enough up until the unsatisfying ending.

Previous Next November 27, 2025 WRITTEN BY: PAIGE As we approach the end of 2025, it feels like a good time to look back and celebrate some films celebrating their 10th anniversary. As it stands, 2015 was a pretty decent year for cinema. Big franchises like Star Wars and Jurassic World were finally back on the big screen, director Quentin Tarantino released The Hateful Eight , Tom Cruise hung off the side of an airplane in Mission: Impossible – Rogue Nation , and who can forget the first time we saw The Hulkbuster in Avengers: Age of Ultron . That said, I want to honor some of my personal favorites from that year by proclaiming the films I thought to be the standout in each genre. Without further ado, let’s dive into the past and highlight the 2015 movies that stood out the most to me. Shall we begin? BEST ACTION: MAD MAX: FURY ROAD Truth be told, 2015 was absolutely stacked with action movies, making it one of the tougher categories to decide. However, when it gets down to it, Mad Max: Fury Road stands tall above the rest. George Miller’s fourth Mad Max installment is, without a doubt, the best of the franchise. From its first frame, Miller straps you in and takes you for the ride of a lifetime. The visceral set pieces, astonishing world-building, stunning cinematography, and gritty performances in Fury Road are all next level. Although it may not have been a huge success at the box office, that doesn’t change the fact that it’s not only my favorite action movie from 2015 but also may be the overall best actioner of the past decade. BEST ANIMATED: INSIDE OUT Bar none. I mean, what’s the competition? Hotel Transylvania 2 ? Minions ?? Tom and Jerry: Spy Quest ?!? There is no need to overthink this one, so I’m not going to waste words elaborating any further. Inside Out is the only and obvious choice. BEST COMEDY: SCOUTS GUIDE TO THE ZOMBIE APOCALYPSE Forget what critics and audiences thought of Scouts Guide to the Zombie Apocalypse when it first came out because they were WRONG! Whenever I rewatch this flick, I can’t help but fall more in love with it. Is it cheesy, raunchy, and absurd? Absolutely, but it knows exactly what it is and owns it. The acting and writing perfectly capture the spirit of the film, and while this may be a hot take, this underappreciated gem is one of the best zombie comedies of all time. Sure, Scouts Guide is mindless and ridiculous, but it’s also a lot of fun and wildly entertaining. Director Christopher Landon deserves a scout's badge for his ability to blend horror and comedy so perfectly together. BEST DRAMA: ROOM For Best Drama, I’m going with A24’s Room , which became the studio’s first film nominated for Best Picture at the Academy Awards. This gut-wrenching film is devastating yet hopeful, mainly due to the chemistry between Brie Larson and Jacob Tremblay, who play mother and son. Their performances in this harrowing tale of survival, love, and perseverance are truly remarkable. Larson, who is phenomenal in this film, rightfully won the Oscar for Best Actress for her tour de force performance; however, newcomer Jacob Tremblay should’ve also been nominated and won because it’s one of the greatest and most authentic child performances I’ve ever seen. Director Lenny Abrahamson has a gift for directing riveting dramas (if you’ve seen the limited series Normal People , you know what I mean), and it’s the little things he does in this film that make me cry. BEST HORROR: GREEN ROOM While 2015 may have been an overall weak year for horror, I had a hard time deciding between two standouts: Green Room and It Follows . Ultimately, A24’s Green Room came out on top, mostly because I find myself rewatching it quite often. For horror fans who crave an adrenaline-fueled, gripping, and bloody film, this thriller is for you. Packed with endless tension, this pulse-pounding flick will have you at the edge of your seat from beginning to end. Frankly, Green Room is just such an underrated and underappreciated gem that I must call it out here because not nearly enough people talk about it, especially with how chilling and menacing Patrick Stewart is as a neo-Nazi villain. Writer/director Jeremy Saulnier delivers a punk rock flick that is one of my top movies of 2015, genre be damned. BEST ROMANCE: MR. RIGHT Despite not being the most romantic film I've ever seen, Mr. Right is a delightful little rom-com that gives me so much serotonin, especially given Sam Rockwell’s charm, though I admit bias since I adore him. Alongside Rockwell is Anna Kendrick, and the pair have electric chemistry; her eccentric and chaotic liveliness is a wonderful match for Rockwell's offbeat and deranged charisma. Together, they make what could’ve been an unmemorable action rom-com into something truly enjoyable. It's by no means a masterpiece or groundbreaking because its premise is a bit batshit crazy, but it’s quirky and just a whole lot of fun. A hitman meets the girl next door… What’s not to love? And let’s be honest, there’s nothing more romantic than throwing knives at each other on your first date. BEST SCI-FI: EX MACHINA People may be shocked that I don’t have Star Wars: The Force Awakens listed here, but when I think of sci-fi as a genre, I want a thought-provoking piece of cinema that makes me ponder the possibilities of life. Sometimes, I even want a story that gets under my skin. Alex Garland’s Ex Machina , yet another A24 movie, does just that. This film is so brilliant that I'm still in awe that it's Garland’s directorial debut. It offers everything you could possibly want in a great sci-fi movie: it boasts stunning special effects, an awesome score and soundtrack, amazing performances (including a memorable dance sequence with Oscar Isaac), and an insightful story. The themes and issues of artificial intelligence, as well as the interplay between man and machine, make one wonder what actually makes humans human. If a statement like that isn’t revolutionary, then I don’t know what is. BEST HIDDEN GEM: TANGERINE When life gives you lemons, go watch Sean Baker’s Tangerine . Shot entirely on an iPhone 5, this is indie filmmaking at its finest. Baker is an expert at this type of slice-of-life movie, immediately immersing the audience in an odyssey that follows two best friends embarking on a wild day around Los Angeles. This offbeat comedy is surprisingly heartfelt, as Baker's screenplay gives the characters a sense of familiarity and realism through raw and intimate dialogue and scenarios. It may not be Baker's first film, or even his most popular, but it's certainly the one that put him on the map for me. Frankly, not enough people talk about its greatness. If you haven’t checked out Tangerine yet, it's already 10 years old, so what are you waiting for? Get to it!

THE WHITE LOTUS: SEASON TWO Starring: Jennifer Coolidge, Aubrey Plaza, Theo James, Will Sharpe, Haley Lu Richardson, Meghann Fahy, Sabrina Impacciatore, Simona Tabasco, Beatrice Grannò, Adam DiMarco, Micheal Imperioli, F. Murray Abraham, Leo Woodall, and Tom Hollander Creator: Mike White PAIGE The White Lotus ’ second season went out with a bang…like holy moly this show is bat shit crazy! Every episode kept me on my toes and had me speculating what was to come every week. With this season depicting the power of sex through love, lust, and jealousy, it made me glad I was just an outsider looking in on these characters’ holiday. The creator, the clever and brilliant Mike White, has now gone two for two in assembling incredible ensembles that keep delivering. Like, just give Jennifer Coolidge another Emmy already! Man, I can’t wait to see where our next White Lotus vacation lies. JACOB There will be no sophomore slump for writer/director Mike White, as his follow-up season to The White Lotus is as full of mystery, awkwardness, memorable characters, and terrific performances as the one before. White’s skewering of the rich and self-absorbed may not use as sharp a stick this time around, but he more than makes up for it by crafting characters and arcs that are some of the sweetest there can be in a show like this. The decadent settings of Italy provide an often-stunning backdrop to the proceedings, and I can’t wait to see where the show goes next.

DR. DEATH: SEASON TWO Starring: Édgar Ramírez, Mandy Moore, Ashley Madekwe, Gustaf Hammarsten, and Luke Kirby Creator: Ashley Michel Hoban QUENTIN After a surprisingly good first season, Dr. Death : Season Two comes across as a series that Peacock felt forced to make simply because they’ve had few wins and need more content. The first half of the season is so focused on the relationship between Dr. Macchiarini (Édgar Ramírez) and Benita (Mandy Moore) that you kind of forget the series is supposed to be about someone called “The Cutthroat Conman.” It’s more like a Lifetime movie about a lying husband. It eventually gets to the medical malpractice story in the final few episodes, which is admittedly interesting, but it’s a little too late at that point.

Previous Next As we inch towards Valentine's Day, we decided to give rom-coms a break and go through some of our favourite love stories that hit us in the feels. With that being said, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Love Stories. For inclusion on this list, a film must not be considered a romantic comedy. Each writer ranks his or her top 15 films 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. PAST LIVES Not all love stories have happy endings, but all love stories leave an impact in your life. Past Lives has the potential to grow into one of the most memorable modern romances due to its dueling love stories that intertwine the life of Nora (Greta Lee). You can feel the absolutely heartbreaking love lost between Nora and Hae Sung (Teo Yoo) due to Lee and Yoo’s powerfully restrained performances, and the grenade their relationship throws into Nora’s marriage to Arthur (John Magaro) highlights the beautifully contemplative screenplay from writer-director Celine Song. She makes you ponder the lengths a person will endure if they truly love a person, and her movie will wreck you to your core, emphasizing the emotional weight true partners can handle when they do so together. - Amarú 4. GHOST I adore Ghost , and I can never skip past it on TV, regardless of where it is in the story, because it's just so irresistibly good. Starring the ridiculously gorgeous couple Demi Moore and Patrick Swayze, it’s one of those earnest, original Hollywood romances that you just don’t see anymore, which is part of its enduring charm. Sure, it’s cheesy, but in a sincere way, and it features one of the most iconic romantic scenes ever, complemented by one of cinema history’s greatest love songs. Not only is it one of my favourite love stories, but it incorporates elements of suspense, mystery, drama, and genuinely unsettling horror. The scenes of (spoiler?) Sam (Swayze) chasing his killer before realising he’s dead still take my breath away, and Carl’s (Tony Goldwyn) gruesome demise before being literally dragged to hell by screaming shadow monsters will always stick with me. It also has laugh-out-loud humour thanks to Whoopi Goldberg’s charismatic, Oscar-winning performance and perfect line delivery. On top of all of that, it's wonderfully cinematic, and every viewing reminds me how beautifully lit films used to be. - Katie 3. LA LA LAND For me, La La Land is the film that opened a whole new world of cinema when I saw it for the first time at 16 years old. I truly felt like I was able to fly. It’s a film that harkens back to the “Golden Age,” with writer/director Damien Chazelle crafting an intricately put-together musical masterpiece to tell the engaging romance of Mia and Seb (Emma Stone and Ryan Gosling, respectively). The chemistry between Stone and Gosling truly is remarkable, and not even the most whimsical moments of the film can remove them from the ground as the highs and lows of the relationship feel as real as can be. La La Land has been, and will likely remain, one of my favourite movies ever made. - Adriano 2. I LOVE YOU, MAN With all the movies we get, the absence of adult friendships is one of the topics that's often neglected, especially in comedies. I Love You, Man not only tackles this concept, but does so in hilarious ways. Sure, we all remember the quotable moments (“slappin' da bass, man!”), but the camaraderie between Paul Rudd and Jason Segel comes so naturally that it makes their bromance infectious. It's a relationship you're immediately invested in and rooting for, which is something all good love stories have. Plus, who doesn't love some Rush content? - Nick 1. ETERNAL SUNSHINE OF THE SPOTLESS MIND In Eternal Sunshine of the Spotless Mind , Joel (Jim Carrey) and Clementine’s (Kate Winslet) relationship is one of the most inventive and endearing love stories to ever grace the silver screen. However, while their love is certainly passionate, it’s tempestuous. Director Michel Gondry and writer Charlie Kaufman do a stellar job of exploring the intricacies of love through the lens of one’s memories and the idea that all emotions and experiences ought to be embraced, even if they’re ugly, as they are necessary to allow one to grow as a person. Ultimately, through all their ups and downs, the couple comes to terms with these morals, deciding to accept one another's imperfections (as well as their own) as they attempt to make the relationship work. If that isn't true love, I'm not sure what is. - Paige HONORABLE MENTIONS THE PRINCESS BRIDE TRUE ROMANCE THE NOTEBOOK BEFORE SUNRISE A STAR IS BORN (2018)

Previous Next January 15, 2025 WRITTEN BY: KATIE Since the early 2010s, there has been a significant surge in the proliferation of female filmmakers, especially in horror. Beginning with the unprecedented success of hits like the Soska Sisters' American Mary , Ana Lily Amirpour’s A Girl Walks Home Alone at Night, and Jennifer Kent’s The Babadook, these films have been central to discourse concerning their subversive approach to the horror genre. Ever since then, female horror filmmakers have continued to reach new heights of success. In 2017, Roxanne Benjamin, Jovanka Vuckovic, Karyn Kusama, and St. Vincent combined forces to create the first all-female horror anthology, XX . Between 2017 and 2021, Julia Ducournau, Natalie Erika James, Rose Glass, and Prano Bailey-Bond earned critical acclaim with their eminent debut features. In 2021, Leigh Janiak found major success with the Fear Street trilogy for Netflix, Julia Ducournau won the Palme d'Or for Titane (making her the second woman ever to be awarded the prestigious prize), and Nia Decosta became the first black female director to debut at number one at the U.S. Box Office with Candyman. This year alone has been an impressive year for female-helmed horror, especially seen in the surge of body horror films, including Arkasha Stevenson’s The First Omen, Michael Mohan’s Immaculate ( although not in the director’s chair, Sydney Sweeney’s producer role was integral to its film’s success), and Coralie Fargeat’s Golden Globe-nominated The Substance. So, why is this significant? This surge has offered new and unique perspectives in a genre that has long been dominated by white, male directors who typically sexualize women, represent them as monstrous, or are treated as nothing more than helpless victims. Not only do these films defy traditional assumptions about women’s role in horror, but they are aligned in how they wield tropes and genre hybridity to address real-life concerns. Barbara Creed (an amazing feminist scholar and one of my personal heroes) addresses this in her latest book, Return of the Monstrous-Feminine: Feminist New Wave Cinema. She revisits her theory, which was first published in her seminal text The Monstrous-Feminine in 1993, by examining a selection of contemporary films made by women, arguing they constitute a specific historical movement — Feminist New Wave Cinema. These films focus on women first, telling stories about revolt against patriarchal oppression and definitions of femininity. Unlike in her earlier text, which focused on female monstrosity in relation to male fears rather than female subjectivity, in Feminist New Wave Cinema, monstrosity is an empowering, potentially even liberating, concept. Inspired by Creed’s latest take on the monstrous-feminine, I want to explore the ways in which several films have used tropes and aesthetics of horror, as well as the notion of female monstrosity, to affirm female-lived experiences and criticise various societal issues that impact mainly women, specifically beauty standards, motherhood, and sexual violence. BEAUTY IS PAIN In both The Substance and The Outside , female protagonists use a product marketed to them by mysterious men in an effort to achieve an ideal of beauty that they feel is currently out of reach. Despite the detrimental effects it has on them, they repeatedly return to the product and convince themselves of the benefits, their drive to feel acceptable and loved outweighing their well-being. The brutal process of transformation — which in The Substance necessitates a series of terrifying injections that become increasingly difficult to watch, and in The Outside involves worsening rashes and blistering skin — calls out the dehumanisation and pain that is inherent in many beauty treatments. Although society praises the result of cosmetic surgery and other aesthetic alterations, it rejects awareness of the process. However, Fargeat and Amirpour refuse to let us look away. You need to know the cost. In her famous book Gender Trouble , Judith Butler refers to performing gender as “the repeated stylization of the body, a set of repeated acts within a highly rigid regulatory frame that congeal over time to produce the appearance of substance.” This is evident in both films, which uses body horror to highlight the impossibility of meeting constantly shifting beauty standards and the absurdity in even trying. They show how societal standards drive women towards unsustainable, increasingly extreme practices in order to produce an image of themselves that society accepts. Both films culminate in a fusing of identities for the protagonists, a transformation into something monstrous and unfamiliar, committing acts each of the women would have previously found unthinkable. However, Fargeat and Amirpour do not blame their protagonists, instead casting a side-eye at those who made them feel they needed to change in the first place. In the films, there is an obvious answer for both women: just stop using the product, but the directors empathise with their protagonists, showing how easily it can get out of hand, highlighting the lengths people will go to feel worthy of love and acceptance, and exploring the ultimate cruelty that it will never be enough. "A BOY'S BEST FRIEND IS HIS MOTHER" The history of horror cinema is permeated with mothers. One of the most famous is Norman Bates’ (Anthony Perkins) mother from Alfred Hitchcock’s Psycho , but Mrs. Bates doesn’t even exist outside of Norman’s head, where she is smothering and cruel. Norman is not to blame for his monstrous acts, it’s his mother’s influence that turned him into the man he is. So, as highlighted by Sarah Arnold in her incredible text Maternal Horror Film: Melodrama and Motherhood, the fact that one of the most iconic mothers in horror history never even materialises outside of a male construction says a lot about maternal representation. According to Creed, when women are presented as monstrous in horror films, it is almost always in relation to their reproductive functions , which is evident in some of the genre's most well-known films, including The Brood and Rosemary’s Baby . Surprisingly, there have not been many female-authored films about pregnancy and motherhood, but Feminist New Wave Cinema has reclaimed the concept of monstrosity to liberate their protagonists from the oppressive constraints of motherhood, which demand women be nurturing, self-sacrificing, and submissive. In her hilarious horror comedy Prevenge , Alice Lowe satirizes the contradictory nature of being the perfect mother-to-be through Ruth (Lowe), who is guided by the disembodied voice of her unborn baby to kill. As Ruth slashes throats, breaks skulls, and castrates misogynists, she also dutifully attends her prenatal appointments. Her midwife tells her that her body is no longer her own, and that she must do everything in service of the fetus. Ruth expresses that she’s finding her pregnancy difficult, without disclosing her murderous urges, but the midwife reiterates, “baby will tell you what to do.” So, Ruth does what she is told. Lowe takes the idea of maternal selflessness to the extreme, with Ruth committing decidedly unfeminine acts, but all in service of the unborn child, unsettling the notions of maternal identity. Amelia (Essie Davis) in Jennifer Kent’s The Babadook is in a similar position to Ruth as a recently bereaved single parent. Significantly, both characters express regret and reluctance in relation to motherhood, and both are told to prioritise their children and, essentially, get over themselves. Both try to repress their grief with disastrous results. Ruth kills whilst Amelia and her son are tormented by the terrifying Babadook , a literalisation of her anxiety. Like Ruth, Amelia is not the one who is monstrous, but the societal pressures that demand so much of her; however, they both perform ideas of monstrous femininity as a cathartic, liberating act that foregrounds the female experience and criticises idealised expectations of motherhood. REVISING THE RAPE REVENGE FILM Understandably, rape revenge films have not been viewed favourably by general audiences. They’re viewed as exploitative, inherently misogynistic, and generally disturbing. Defining films of the canon are Wes Craven’s The Last House on the Left and Meir Zarchi’s I Spit on Your Grave, which involve brutal depictions of sexual violence that focus on female suffering and degradation. However, Coralie Fargeat’s Revenge and Madeleine Sims-Fewer & Dusty Mancinelli's Violation show that revenge films can not only be liberating, but even feminist, emphasising the subjectivity of their female protagonists and exploring the societal conditions that perpetuate rape culture. Revenge presents an interesting challenge for feminist interpretation through its employment of the male gaze in the first half of the film. The protagonist, Jen (Matilda Anna Ingrid Lutz), is undoubtedly sexualised initially , flaunting her appearance for the gratification of men, but this is done to challenge the audience. Fargeat implicates the viewer in their assumptions about Jen, drawing attention to the discourse associated with victims of sexual violence, e.g., “she shouldn’t have been wearing that if she didn’t want it.” Just because Jen is flirtatious and sexualised does not mean the men around her are entitled to her body, which is underscored by her transformed demeanour after she is raped. She becomes almost animalistic, covered in dirt and grime, wielding a gun, and efficiently stalking and killing the men involved as she exacts her satisfying revenge. Fargeat also handles the rape scene uniquely to her male predecessors by limiting visual access and instead using sound and cuts to portray Jen’s ordeal. Whilst Jen’s screams can be heard, the camera focuses on her face and cuts away only to highlight the other man’s indifference to her suffering. This juxtaposes the way the camera voyeuristically captures Jen in the first half of the film, showing Fargeat’s disinterest in indulging a sadistic male gaze. Violation similarly implicates viewers in their assumptions. Through a non-linear storyline, it is revealed that Mirian (Madeleine Sims-Fewer) consensually kisses her attacker, who is also her sister’s husband, prior to the rape. This draws attention to the issue of assumed consent, as well as the sadly common assumption that a victim may have “asked for it” through behaviour. Similarly to Revenge , the rape scene in Violation focuses on the victim, emphasising Mirian’s feelings of betrayal and paralysing inaction. The use of macro photography lenses results in very tight close-ups, whilst the shaky, handheld camerawork creates a fragmented perception of the ordeal. The sound of Mirian’s whimpers are heightened above the score, which plunges the viewer into her sense of helplessness, especially when paired with the claustrophobic framing. Mirian’s revenge involves tricking her attacker before knocking him out cold and methodically dismembering his body. The process is grueling for both Mirian and the viewer, and although she doesn’t achieve the cathartic transformation of Jen in Revenge , she is shown to be traumatised and exhausted, demonstrating that the psychological impact of sexual trauma is not so easily erased. Both films show there is no single way of experiencing, or coping with, sexual violence through understated yet impactful scenes of the attacks, and they interrogate the ways in which the blame is situated with the victim rather than holding perpetrators accountable. WHAT’S NEXT? Clearly, this recent wave of female-authored horror films is significant. The surge in the proliferation of successful films that belong to Feminist New Wave Cinema shows that female horror filmmakers are increasingly gaining traction in the genre with their unique approach to the tropes and aesthetics of horror whilst also gaining more opportunities to tell their stories. This continues into 2025 with many exciting horror releases helmed by women. The body horror trend carries on with Sasha Rainbow’s feature debut Grafted , set to premiere on Shudder later this month, with director Rainbow commenting that the film will follow the female protagonist's "wild and bloody pursuit of perfection." On top of that, Jennifer Kaytin Robinson’s I Know What You Did Last Summer sequel will hit cinemas in the summer, Maggie Gyllenhaal's highly anticipated The Bride! will be released in late September, and Lynne Ramsay’s psychological thriller about the pressures of motherhood, Die, My Love , is expected to premiere at the 2025 Cannes Film Festival.

Previous Next March 5, 2024 WRITTEN BY: ADRIANO With the Oscars fast approaching, and popular titles like Oppenheimer , Barbie , and Poor Things (rightfully) receiving their share of attention as they collect wins, I thought now would be as good a time as any to talk about two of the Academy’s lesser appreciated categories: Best International Feature and Best Documentary Feature. Considering most of the Best Documentary Feature nominees also are international, this piece provides a great opportunity to highlight a collection of nominated films from outside North America. International titles, both narrative fiction and documentary alike, offer viewers new perspectives on filmmaking, different cultures, and the lives of those living outside the bubble of the Western world. Maybe more so than anything, the general idea of a new perspective is one of the core factors that makes me fall for these types of films. As with every category, the Academy can only nominate so many films per year, so while I really loved About Dry Grasses , Monster , and, most notably, Anatomy of a Fall last year, a nomination just wasn’t in the cards for them. However, that in no way diminishes what the films below were able to accomplish. If you have the time, I’d recommend you give them (or any international or documentary feature, for that matter) a chance, if for no other reason than to expand your horizons and to gain a better understanding of the world. BEST INTERNATIONAL FEATURE IO CAPITANO Starring: Seydou Sarr and Moustapha Fall Director: Matteo Garrone Plot: A Homeric fairy tale that tells the adventurous journey of two young boys, Seydou (Sarr) and Moussa (Fall), who leave Dakar to reach Europe. Io Capitano is a film that is sure to be a crowd-pleaser, but personally, I found it to be fairly forgettable. It's very easy to root for the protagonist, excellently played by Seydou Sarr in a breakthrough performance, but the film has an absurd tendency to jump from one obstacle to the next too quickly, which leaves a lot of it feeling a little weightless. The film’s beautifully shot aesthetics are generally undermined by how detached I felt emotionally, and despite the film's best efforts to pull me in, the big finale didn't hit me the way it should have. SOCIETY OF THE SNOW Starring: Enzo Vogrincic, Matías Recalt, Agustín Pardella, Felipe Otaño, Luciano Chattón, Valentino Alonso, Francisco Romero, Agustín Berrutti, Andy Pruss, Simón Hempe, Juan Caruso, Esteban Bigliardi, Rocco Posca, Esteban Kukuriczka, Rafael Federman, Manuela Olivera, Agustín Della Corte, and Tomas Wolf Director: J.A. Bayona Plot: The flight of a rugby team crashes on a glacier in the Andes. The few passengers who survive the crash find themselves in one of the world's toughest environments to survive. Based on a true story. Similarly to Io Capitano , Society of the Snow tends to go in circles as it shows the protagonists experiencing one obstacle after another. Unlike Io Capitano , however, Society of the Snow is intense, claustrophobic, and successful in telling its miraculous true story with the power that is necessary. The film is gruelling to get through, courtesy of excellent direction from J.A. Bayona and outstanding sound and production design. Somehow, it manages to make you feel like you're smack dab in the middle of the freezing cold, which means when the ending finally arrives, it arrives with a massive sigh of relief. Society of the Snow may be flawed, but it is a powerful film, nonetheless. THE TEACHERS’ LOUNGE Starring: Leonie Benesch, Leonard Stettnisch, Eva Löbau, Michael Klammer, Rafael Stachowiak, Sarah Bauerett, Kathrin Wehlisch, and Anne-Kathrin Gummich Director: Ilker Çatak Plot: When one of her students is suspected of theft, teacher Carla Nowak (Benesch) decides to get to the bottom of the matter. Caught between her ideals and the school system, the consequences of her actions threaten to break her. For the majority of The Teachers' Lounge , I might have said that it was my favourite of the nominees discussed in this article. From the outset, the film gives way to a faux sense of inviting atmosphere, only for the film to take a drastic turn. One accusation, whether true or false, turns the film into a white-knuckle thrill ride fuelled by a brilliant series of misunderstandings and cruelty. Ilker Çatak's direction is spectacular, as are the performances of Leonie Benesch and Leonard Stettnisch. Then the ending happens. Without giving anything away, and while there is an argument that its lack of payoff and clarity is part of the point, it’s far too unsatisfying for the amount of tension that was built up. PERFECT DAYS Starring: Kôji Yakusho Director: Wim Wenders Plot: Hirayama (Yakusho) cleans public toilets in Tokyo, living his life in simplicity and daily tranquillity. Some encounters also lead him to reflect on himself. Perfect Days is one of those films that requires patience, but, boy, is that patience rewarded. Overall, it’s an exploration of how beautiful the mundane can be. Or, perhaps a simpler way to describe it is to call it the film version of the phrase "it's the little things that matter." Throughout the film, despite the less-than-ideal nature of Hirayama’s (played with brilliant nuance by Kôji Yakusho) life, we see the beauty in what brings him joy, whether that's in repetition or the small divergences in his day-to-day. The film certainly features emotional hardship, but Perfect Days is a love letter to life that's sure to touch the soul. THE ZONE OF INTEREST Starring: Sandra Hüller, Christian Friedel, Medusa Knopf, Daniel Holzberg, Sascha Maaz, Max Beck, Wolfgang Lampl, Johann Karthaus, and Ralph Herforth Director: Jonathan Glazer Plot: Auschwitz commandant Rudolf Höss (Friedel) and his wife, Hedwig (Hüller), strive to build a dream life for their family in a house and garden beside the camp. If Perfect Days shows us that our day-to-day can be beautiful, The Zone of Interest shows the flip side - that true evil can hide behind the mundane nature of our lives. This is a movie that, the more I ponder it, the more it blows me away. Every detail of Jonathan Glazer's exquisitely crafted masterpiece is designed to suck us into the film's haunting analysis of the walls we put up to justify our comfort and shield us from the horrors of the world. Every time I learn something new about the film's production, I get more and more impressed with the level of immersion that was accomplished (for example, I only recently learned that the crew left the set, leaving only the actors and still cameras during shooting). I believe it's only a matter of time before The Zone of Interest' s legacy as a work of genius is cemented. BEST DOCUMENTARY FEATURE THE ETERNAL MEMORY Director: Maite Alberdi Plot: Augusto and Paulina have been together for 25 years. Eight years ago, he was diagnosed with Alzheimer's disease. They both fear the day he no longer recognizes her. The Eternal Memory can evoke strong emotions, especially, I imagine, if you have dealt with a loved one suffering from Alzheimer's. As someone whose been lucky enough not to have gone through that myself, I found that when the film focuses entirely on the central couple, it is at an emotional peak, to include the very heartbreaking ending. That said, the film is extremely lopsided in its presentation. For example, when the film decides to focus on the couple's careers, I was emotionally detached and started not to care. I can't deny what the film can elicit in its more emotional moments, but it could've been better had it been more focused. BOBI WINE: THE PEOPLE’S PRESIDENT Director: Christopher Sharp and Moses Bwayo Plot: Follows Ugandan opposition leader, activist, and musical star Bobi Wine. He used his music to fight the regime led by Yoweri Museveni, the person who led the country for 35 years. There are documentaries that, even when the presentation is weak, the power and urgency of the subject at hand make the film a worthwhile watch. Bobi Wine: The People’s President is just that. However, while Bobi Wine’s personal story is powerful, the film’s true power comes from the devastation of Uganda's political landscape, which shows the true horrors of its dictatorship. Those moments are the most crucial, but the movie spends too much time on Wine's life and upbringing through very questionable stylistic decisions that it begins to lessen its impact. Again, it's a hard film not to recommend due to its subject, but I can't ignore the clear flaws. TO KILL A TIGER Director: Nisha Pahuja Plot: Ranjit, a farmer in India, takes on the fight of his life when he demands justice for his 13-year-old daughter, the victim of a brutal gang rape. His decision to support his daughter is virtually unheard of, and his journey unprecedented. A documentary is most powerful when you can feel yourself becoming a different person as you watch it, and To Kill a Tiger succeeds in that. As I watched this father's fight for justice, I felt myself getting physically enraged by what I was seeing on screen. Beyond the film's insight into the sexual assault epidemic in India, the film also gives a look at life in an Indian village, in some ways that aren't pretty. By the end, the film prompted such a powerful and instant reaction that I was brought to tears. If I had to make one criticism, I would say some of the subplots are underdeveloped, so they didn't grab me as much as the central story. Still, though, To Kill a Tiger is a film I would absolutely call necessary viewing. 20 DAYS IN MARIUPOL Director: Mstyslav Chernov Plot: As the Russian invasion begins, a team of Ukrainian journalists trapped in the besieged city of Mariupol struggle to continue their work documenting the war's atrocities. At the time of this writing, Russia’s invasion of Ukraine began more than two years ago. 20 Days in Mariupol is perhaps the most gruelling and depressingly accurate depiction of what life in Ukraine has been and, tragically, still is like. Watching the film unfold, you feel the gravity of war at its most impactful, as this team of journalists bravely use what little resources they have to craft a tour-de-force of documentary filmmaking. It’s a tough viewing experience, I can't possibly deny that, but I can't think of a better film to demonstrate the horrors of the Ukraine invasion than 20 Days in Mariupol . FOUR DAUGHTERS Director: Kaouther Ben Hania Plot: Between light and darkness stands Olfa, a Tunisian woman and the mother of four daughters. One day, her two older daughters disappear. Filmmaker Kaouther Ben Hania invites professional actresses to fill in their absence. Wherever you stand on Four Daughters , you can't deny that it's the most interesting style of documentary filmmaking of the five nominees. Its approach never feels like a gimmick, and it truly does enhance our view of the subjects, from both an educational and emotional standpoint. Many moments in the film brought me to tears, as the subjects are fully able to cope with what happened, the way the remaining daughters’ mother raised them, and how it possibly led to the two eldest daughters no longer being with them. The final reveal is truly heartbreaking, making Four Daughters a fascinating film, especially at its most devastating points.

Previous Next June 11, 2026 The Wayans are back at the helm of their most well-known franchise and have a financially successful opening weekend to show for it. Do the laughs match up with the dollars? Join Nick, Shak, and Matt as they discuss the return and future of the Scary Movie franchise. Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next December 13, 2023 WRITTEN BY: THE BITESIZE CREW Every year, there are hundreds, if not thousands, of movies released around the world. Even for us at Bitesize Breakdown, a collection of vociferous and voracious movie watchers, it’s impossible to keep up with every single movie released, so we can only imagine how many offerings fall through the cracks for the general movie fan. Whether it be a foreign film, an independent festival darling, or a smaller film that was unceremoniously dropped on VOD, it can be difficult parsing through all your options. Plus, we understand that everyone has busy lives, so the idea of wasting two hours on a movie you’ve never heard of is likely a non-starter for most people. We totally get it. That’s where this article comes in. Sure, you’ve likely heard of, or even seen, the big blockbusters…movies like Barbie and Spider-Man: Across the Spider-Verse …but what about the less flashy movies that didn’t get the same level of marketing as those tentpole behemoths? Below, each of the eight Bitesizers have highlighted two films that flew under-the-radar for whatever reason, but that are no less worthy of your time and attention. Many of these can be found on digital platforms currently, so you don’t even need to leave the comfort of your home to have a truly enjoyable movie-watching experience. If nothing else, we’re just hoping to spark some interest in something you may not have otherwise noticed. So, without further ado, check out the Bitesize Crew’s picks for their top hidden gems of 2023! ACIDMAN With a quiet release this year, this flick probably flew under your radar, but I’m here to spread the word on this touching, low-key, father-daughter drama. Despite a simple premise, Acidman is a beautifully shot, intimate two-hander with more meat on its bones than you’d expect. This allows its two leads, Dianna Agron and Thomas Haden Church, to deliver two of the most underrated performances of the year. This film is one of those rare gems that subtly unpacks its characters’ feelings onto the audience in such a gentle and reflective manner that it will resonate with many people. - Paige BIOSPHERE I first saw Biosphere as a last-minute addition to the TIFF line-up in 2022. It was added with almost zero information, outside of the fact that it starred Sterling K. Brown and Mark Duplass. Honestly, that's the best way to approach this movie, as blind as possible. Biosphere is an intimate, unique, and rather funny film surrounding two isolated men living through a supremely interesting premise. I’m more than a year removed from my first viewing, and it still hasn't left my mind. Sadly, though, it's public release in July came with little fanfare. I have no doubt people are bound to love this film if they see it, they just need to see it. - Nick THE CAINE MUTINY COURT-MARTIAL It’s a shame that The Caine Mutiny Court-Martial flew under the radar this year because it’s fantastic. This remake of the 1954 classic is helmed by the late William Friedken, who absolutely crushes it here. I know people say this a lot, but you really don’t see movies like this anymore. Caine Mutiny is patient, captivating, and unpretentious filmmaking at its finest. You can feel Friedkin’s confidence in almost every frame of the film, with the acting, blocking, and editing all being truly masterful. Sadly, this is Friedkin’s final film, but at least he went out with a bang. – Caleb CASSANDRO If nothing else, Cassandro is worth a watch for Gael García Bernal’s amazing performance. In almost any other year, he would be in talks for an Oscar nomination for his honest, vulnerable, and enthralling portrayal of the real life “exotico” wrestler. The movie itself is a slow burn that spends time to bring true emotional resonance to the title character’s journey. That same care is brought to the film’s gritty tone, exemplifying how much work and perseverance goes into people’s passions. Whether or not you’re a wrestling fan, you’re bound to appreciate how much Cassandro truly cares for its subject matter and its presentation, making it a movie you shouldn’t miss. - Amarú DEEP SEA At this point in my life, it takes a lot for me to fully buy into animated movies or movies with subtitles. With animation, I’m just too old and cynical nowadays, while with subtitles, I generally find it hard to immerse myself in the story with all the reading. However, Deep Sea is so remarkable, featuring a deeply poignant story of childhood depression and parental neglect told through some of the best animation I’ve ever seen, that I was utterly blown away. If you can believe it, I was even emotionally moved. It’s not unlike Studio Ghibli’s Spirited Away , if you need something else to sell you on it, but Deep Sea more than stands on its own as one of the best animated films I’ve seen in recent years. - Quentin ENYS MEN Enys Men is a unique display of auteurship, with Mark Jenkin as the writer, director, cinematographer, editor, and composer of the soundtrack. Best described as a Cornish folk horror, it follows a woman known only as The Volunteer, played by Mary Woodvine, who is tasked with observing wildflowers on a remote island. The Volunteer repeats the same tasks daily, and eventually, everything slips between dreams and reality, where all of history and time seem to co-exist simultaneously. Shot on 16mm film, it has a palpable 1970s style, making it feel like a lost artifact that was discovered on that isolated island. I’m surprised Enys Men didn’t have more of an impact, especially considering the recent success of the similarly experimental Skinamarink, but it is a must-see for avant-garde horror fans. - Katie THE FIRST SLAM DUNK I will admit that I’m not the biggest anime fan, but a good friend recommended this to me because I am a huge basketball fan, and I was very happy that he did. The First Slam Dunk is a visual feast, with exciting in-game action and powerful stories to connect you with the players outside the game. It takes every aspect of itself seriously, complete with the typical over-the-top drama and comedy that makes anime such a revered genre, and it all works to make this film a very entertaining watch. Do yourself a favor… take a chance on one of the best animated films in this stacked animated year. - Amarú FLORA AND SON Not quite a family drama, not quite a love story, Flora and Son was such a pleasant surprise when I saw it at TIFF this year. Although the film is called Flora and Son , the highlight really is Flora (Eve Hewson) and Jeff (Joseph Gordon-Levitt). Hewson leans on her Irish roots as the brash and edgy Flora, which wonderfully contrasts against Gordon-Levitt’s clean-cut Jeff. The chemistry these two share without being in the same room is palpable, and director John Carney finds work arounds to ensure that we aren’t just watching an extended Zoom call. Meanwhile, the music is both catchy and quite good. In fact, I’d go so far as to suggest that “Meet in the Middle” deserves some Original Song recognition at this year’s Oscars. - Nick HOW TO BLOW UP A PIPELINE When it comes to social justice, the climate crisis, and civil disobedience, you'd be hard-pressed to find a film as effective at displaying those themes as How to Blow Up a Pipeline . The film is so successful in its messaging that it was later revealed that even the FBI had some concerns about the film. Yet, when it came out in April of this year, it didn't quite make the noise that a film like this probably should have made despite its critical acclaim. It’s a shame, really, considering a film of this magnitude and importance, despite its potentially radical approach, can inspire some necessary change as we continue to fight against a worsening environmental crisis. - Adriano LANDSCAPE WITH INVISIBLE HAND Landscape with Invisible Hand shocked me more than any other film this year. It was a film I thought I would hate, but I ended up really enjoying it. Director Cory Finley stands apart from his contemporaries by providing a substantive narrative with social commentary over a wide-range of social issues, and he does so with beautiful subtlety while avoiding the tempting Hollywood finger-wagging trend. Instead, what we get is a unique, satirical story that is eccentric but somehow avoids being weird. Asante Black and Kylie Rogers have fantastic chemistry, and Tiffany Haddish inspires with her own dramatic performance. This quirky hidden gem may not be on the monthly watch list, but movies with this level of intelligence rarely are; you will be glad you branched out. - Preston LINOLEUM “You know that comedian that talks in kind of an annoyingly high-pitched voice and does the skit on Hot Pockets?” - That question has been an easy reduction to quickly identify the comedian Jim Gaffigan, but NO MORE as he turns in a beautifully nuanced performance in Linoleum. This film is a breath of fresh air away from the usual Hollywood fodder as writer/director Colin West brings us a refreshingly warm and original story that is mercifully creative. Its cleverness lies in its ability to touch on so many beautiful themes while telling its surreal tale from the perspective of one “simple” man. In the end, what is captured is the complicated essence of what we experience through the vicissitudes of life and its strange wonder. - Preston PERFECT DAYS Sadly, Perfect Days didn't leave the mark it should have this year, even though it is one of the most emotionally rewarding movies of the year. The movie requires patience, that's undeniable; a majority of the movie is essentially just a man cleaning toilets and going about his day-to-day. So, sure, it's not the most exciting film in the world. However, those patient enough to stay will find something beautiful in the mundane. Kōji Yakusho's endearing performance is enough to make the experience worthwhile, but ultimately, you have a special film that exemplifies the beauties of life and that which keeps us going despite the hardships. I hope it finds an audience someday. - Adriano POLITE SOCIETY Polite Society is a one-two punch that deserves to have more people see it. Director Nida Manzoor manages to masterfully blend all sorts of genres, most notably comedy and martial arts, into a fresh and sharp coming-of-age story about two sisters, played by Priya Kansara and Ritu Arya. Their gleaming chemistry makes this spunky and charismatic film genuinely kick ass. If you’re looking for a playfully charming movie that is light-hearted, then Polite Society is the hidden gem for you to watch. - Paige RYE LANE Raine Allen Miller’s feature debut, Rye Lane , is the best rom-com I have seen in years, but I feel that it’s criminally underappreciated. The film follows Dom (David Jonsson) and Yas (Vivian Oparah), who meet after having each recently endured a rough break-up. Set against the backdrop of sunny South London, they get to know each other over the course of the day. It's an energetic and refreshingly modern take on a well-worn genre that is brimming with life and vibrant colour. The leads have genuine banter and authentic chemistry, and I was cheering for them all the way through. I feel this one was missed during an exciting year of blockbusters, but rest assured, Miller's charming film will make you fall back in love with rom-coms. - Katie SISU Admittedly, having first seen Sisu at TIFF 2022’s Midnight Madness has done a lot of heavy lifting towards making Sisu one of my Top Ten movies of 2023. That said, this is a heavily stylized war movie written and directed by a Finnish filmmaker you’ve probably never heard of, starring a collection of non-American actors you’ve probably never heard of. So, I get why most people likely avoided it. However, Sisu wears its American action influences on its sleeve, recalling everything from Quentin Tarantino, Captain America, Rambo, John Wick , and Saving Private Ryan . Plus, to ease your minds on the thing that probably scared off most people: it’s in English. - Quentin THEATER CAMP It’s surprising that more of my friends haven’t seen Theater Camp because it seems to be right up my demographic’s alley. It’s got a cast chock-full of some of my generation’s favorite actors, including Molly Gordon, Jimmy Tatro, and Ayo Edebiri. On top of that, it’s got a fun summer-camp, mockumentary style á la Wet Hot American Summer (2001), and most importantly, it’s funny as hell. It’s baffling to me that similar comedies like Barbie and Bottoms were such wild successes this year while this fell into relative obscurity. It’s hilarious and heart-warming at the same time, and if you’re in the mood for some more zany Gen-Z comedy, look no further than Theater Camp . - Caleb

HALO: SEASON TWO Starring: Pablo Schreiber, Bokeem Woodbine, Shabana Azmi, Natascha McElhone, Yerin Ha, Kate Kennedy, and Natasha Culzac Creators: Steve Kane and Kyle Killen AMARÚ Just when I thought I was going to regret being one of the few who liked Halo ’s first season, Season Two’s third episode brought me back from the depths with great action and just enough intrigue. From there, it’s still plenty generic, but moving away from the flood of unremarkable information in the first two episodes to focus on great character work and (yes, it’s worth repeating) well-shot action made this an improvement from last season. If you’re not a fan of the let’s-not-be-the-game-but-use-things-from-it approach, I really don’t blame you, but Pablo Schreiber and an improved supporting cast keeps Halo treading enough water.

Previous Next December 18, 2025 WRITTEN BY: NICK AND QUENTIN It's that time of year again, when Nick and Quentin get the chance to showcase some of their personal favourite posters of 2025. Some notable tropes have persisted (the still shot, the dreaded floating heads), but it feels like there were fewer this year. As with years past, there were certainly highlights in 2025 (you can see our 2024 selections HERE ), but nothing felt destined to become another iconic piece. Instead, you got a lot of promotional material that was well made but lacking in personality. With the theatrical experience under attack, posters as we know them could be in jeopardy as well. We need a big resurgence in 2026 to show that this is less a trend and more of just a down year. In spite of that, we were still able to find some highlights worthy of showcasing. Did any of these posters stick with you? Were they the driving force to make you see the films they represented? What is destined to hang on someone’s wall or act as their phone background? As a reminder, we are only talking about the quality of the poster, not the quality of the movie it represents. We don't need to bore you with a write up about why we love and appreciate each poster. Just appreciate the art as we let the posters speak for themselves, just like the artists who created them intended.

WHAT IF...?: SEASON ONE Starring: Jeffrey Wright AMARÚ At first, you think Marvel's What If...? is simply a dream-fulfilling anthology - no stakes or agenda, just enjoy the fan service. Then it gets real dark, complete with real stakes. It makes you want an agenda. By season's end, you're reminded that Marvel always has a plan, and if we get 50 seasons, we'll still be wide-eyed and ready for every episode. This season isn't perfect, though. Early episodes are too short and the humor doesn't always land (sorry, Party Thor). However, the final episodes deliver extremely satisfying pay-offs and maybe the MCU's best action sequences. Gimme more! QUENTIN While it took me a few episodes to get onboard, What If...? eventually turned into a nice weekly distraction that will keep most Marvel diehards at least moderately entertained. Like most anthologies, some episodes are better than others, but they all provide something worthwhile. What's most impressive is that nearly every MCU star provided voice work. On the other hand, the animation can be distracting, a couple episodes end rather abruptly, and some of the dialogue is pretty cheesy (probably for a younger audience since, after all, it is animated). Ultimately, it's enjoyable enough, but not required viewing despite being canon. JACOB From the outset, Marvel's What if...? seemed destined to be nothing more than the ultimate playground for the MCU to test its riskiest ideas, but it soon revealed itself to be taking those ideas extremely seriously and developing them with care. The medium of animation and half-hour-(ish) episodes are the perfect conduit for telling tales of endless imagination and striking maturity, particularly episodes four and six. Although some stories never feel as if they reach full conclusions, the introduction of a series like this counts as another triumph for Marvel studios and demonstrates most clearly why people still love them.