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THE STAND Starring: Whoopi Goldberg, Alexander Skarsgård, James Marsden, Odessa Young, Gordon Cormier, Amber Heard, Jovan Adepo, Owen Teague, Irene Bedard, Brad William Henke, Nat Wolff, Henry Zaga, and Greg Kinnear Creators: Josh Boone and Benjamin Cavell JAMES The two words that pop into my head when I think of The Stand are "perfectly competent." Solid cinematography? Check. Great pacing? Check. Charismatic, villainous performance by Alexander Skarsgård? Double check. But here's the thing: The Walking Dead has been doing everything The Stand does for over 10 years. The latter just doesn't do anything to distinguish itself, aside from being based on a Stephen King story. I've heard it's one of King's best novels, but whatever spark made the book so special either isn't in the show or just doesn't register amidst the television landscape of 2021

DARK MATTER Starring: Joel Edgerton, Jennifer Connelly, Alice Braga, Jimmi Simpson, Oakes Fegley, and Dayo Okeniyi Creator: Blake Crouch QUENTIN Dark Matter is tough to review because, as I binge-watched it, I mostly enjoyed the exploration of “the road not taken” and ideas surrounding the many-worlds theory, even if the pacing is somewhat lethargic. However, now that I’ve had a day to process it, I don’t think I liked it quite as much as I thought I did in the moment. Characters and plot points are introduced only to be unceremoniously abandoned, and I would have liked a deeper view of the multiverse. Lastly, while the ending makes sense, it still left me wanting. It’s good enough, I suppose, but maybe don’t overthink it. PAIGE After a slow start, Dark Matter immerses viewers in an engrossing journey that explores the various directions our lives can go depending on the choices we make. Even though its pacing is a little too all over the place for its ambitious ideas, the limited series' main takeaway that life isn't necessarily greener on the other side is what will stick with the audience. All in all, the series would’ve benefited from more chaos and fear, but if you enjoy sci-fi drama-thrillers, Dark Matter is a decent multiverse-based show worth checking out.

Previous Next November 16, 2023 WRITTEN BY: KATIE When thinking of films that define a generation - those that encapsulate the experience of being a young person at a specific moment in time - Rebel Without a Cause (dir. Nicholas Ray, 1955), The Breakfast Club (dir. John Hughes, 1985), American Pie (dir. David Lawrence, 1999), and Superbad (dir. Greg Mottola, 2007) are often the first that come to mind. These films are united by common tropes and themes, like nerds vs. popular kids, cliques, mean girls, pushy parents, first sexual experiences, drinking, and partying. But what about films that reflect the experiences of young people today? The films mentioned above didn’t have to deal with the omnipresent nature of our phones and social media, or the unique political circumstances of today, which are now staples in the lives of Gen Zers, loosely defined as those born after 1996 and before 2012. The films that follow, in my opinion, are some of Hollywood’s best examples of demonstrating an understanding of the lives and experiences of people belonging to Gen Z. They achieve this by subverting established genre tropes, stereotypes, and character archetypes, all while exploring the complicated nature of relationships in the age of the internet and social media. They speak to our reality where people have never been so connected and so divided, so accepting yet so quick to judge and cancel. So, let’s explore some of the most relatable Gen Z films. BODIES BODIES BODIES (2022) Although a tad exaggerated at times, Halina Reijn’s horror-comedy Bodies Bodies Bodies critiques the disconnectedness and narcissistic traits associated with Gen Z through its subversion of horror tropes, especially the ‘whodunnit’ element of the slasher genre. The film follows a group of unbearable twentysomethings who assemble for a mansion party on the night of a raging storm. After a few drinks, they decide to play a murder-in-the-dark style game called “Bodies Bodies Bodies.” Things quickly disintegrate after the power goes out and a throat is slashed, at which point grudges and resentments within the group quickly arise, amplified by the loss of Wi-Fi. Without their phones, the group is forced to interact with their friends unmediated by the distance provided by social media and screens. It turns out that after keeping in touch almost exclusively via their Instagram feeds and group chats, they don’t know each other as well as they thought. Terrified by the prospect of a killer amongst them, they begin to question each other's authenticity and attack each other's character as viscously as they would a stranger online, throwing around terms like “gaslight” and “toxic.” In a brilliant twist, it’s revealed that the killer isn't quite the masked murderer they imagined, and their narcissism and distrust of each other had a much more significant role to play. The film subverts the audience's expectations to effectively make its point about the role that technology plays in the lives of a generation who don’t know life without it. It shows the performative nature of online personas and the pressure individuals feel to maintain them, which creates the sense of disconnectedness so prevalent in Gen Z. The film also utilises phones in a way that looks incredibly natural, with the characters’ phone screens and flashlight apps providing most of the lighting after the power outage despite there being many actual flashlights available, realistically showing how our phones now feel like an extension of ourselves. Above all, it’s so fun, full of hilarious performances, and has one of my favourite ever line deliveries: “Your parents… are upper… middle… class .” BOOKSMART (2019) Olivia Wilde’s directorial debut, Booksmart was quickly labelled as the “female Superbad ” since both films focus on a pair of slightly nerdy high school best friends who want to party before graduating and embarking on college life separately, not to mention the fact that Beanie Feldstein, who plays Molly, happens to be Jonah Hill’s sister. The film follows Molly and Amy (Kaitlyn Dever). They’re not very popular and are a little socially awkward, having prioritised their studies over partying and having fun. After hearing the cool kids mocking her personality (not her looks, importantly) behind her back, Molly retorts by boasting about her acceptance to Yale University. However, she is horrified to learn that they also have prestigious colleges or jobs lined up, which forces her to realise that it was possible to have fun and succeed in school. Feeling like they’ve wasted their time, the pair try to live the party life they missed all in one night. Booksmart subverts the tropes of the teen comedy in various ways, but most interestingly through the way it flips character tropes on their head. Unlike previous teen films that rely on the tried-and-tested archetypes of the bullies, the nerds, the jocks, and the cool girl, Booksmart calls out the judgemental attitude of Molly and gives us multifaceted characters that can't be defined by simple labels or binaries. The cool kids are just as smart as the nerds, the jocks are revealed to be more than meets the eye, the bully is redeemed, and the girl with a reputation reclaims the names everyone calls her. The film speaks to the increasing acceptance of diverse expressions of gender and sexuality and the rejection of labels, a mindset especially associated with Gen Z, as well as presenting a fresh and modern approach to teen comedy through its focus on a realistic female friendship. The LGBTQ+ representation in the film is diverse and totally effortless too, effectively exploring the identities of all its characters equally and avoiding tokenising their experiences, mirroring the typical high school experience of today. The film also acknowledges the ubiquitousness of academic success amongst Gen Z, highlighting that simply working hard in school and getting into a great university will not necessarily bring happiness like it once may have, especially if it comes with neglecting meaningful connections and having fun. EIGHTH GRADE (2018) Another directorial debut, Bo Burnham’s Eighth Grade is a heart-touching portrait of the hyper-online culture that young Gen Zers have been forced to live in. It follows Kayla (Elsie Fisher), an anxious 13-year-old girl, navigating her last week in the eighth grade. Kayla doesn’t really have any friends, and she is voted as the “most quiet” in her grade. She looks and sounds exactly like a typical 13-year-old girl would, filled with awkward energy and talking in a clumsy speech pattern full of “um” and “like.” However, she also frequently creates self-improvement videos focusing on “being confident” and “being yourself” for her YouTube channel, confiding in her camera more than she does anyone around her. In terms of the coming-of-age genre, Eighth Grade is unique. It’s one of few films I’ve seen that attempts to capture the tween years of a Gen Zer, and the only one that does so successfully. It doesn’t have any dramatic moments of realisation or grand gestures, but focuses more on Kayla’s internal experiences, specifically her struggle to grapple with the pressures and performative nature of social media in the face of her social anxiety. Burnham approaches her struggles free of any sense of judgment, and, unlike other teen media, doesn’t look down on the significant role that social media plays in her life. Instead, he empathises with Kayla. The film creates distance between Kayla and her father, stressing their difficulty in communicating and connecting, which highlights the terrifying reality that the adults in her life cannot fathom what it is like to grow up as a digital native. The parents of Gen Z cannot understand their kids’ unique forms of communication, the online world that is second nature to them, or why they care about their phones so much. They think they’re always talking to their friends despite the fact that, like Kayla, most tweens feel lonelier than ever. Overall, Eighth Grade is one of the most authentic portrayals of what it's like to live your teenage years through a screen. Despite showing the darker side of the internet age, it's also incredibly uplifting, personal, funny, and almost unbearably relatable. NOT OKAY (2022) Of all the films discussed, Quinn Shephard’s Not Okay (2022) is the most direct critique of our relationships with social media, specifically concepts of performative activism and virtue signaling. It follows Danni (Zoey Deutch), a photo editor for a successful online magazine and aspiring writer. Danni is struggling to attain the job she wants, and she isn't very good at making friends. She’s privileged, spoiled, attention-seeking, and desperate to be noticed. To gain the attention of her peers and office crush, she pretends to attend a writing retreat in Paris, posting photoshopped snaps of her eating croissants and visiting landmarks. Everything seems to be going well until news hits of a terrorist attack at a location she was supposedly at just moments before. Instead of coming clean, she quickly becomes accustomed to the sympathy and attention she receives as a result of her victim status. Danni eventually befriends an actual survivor who lived through a real attack, Rowan (Mia Isaac), who represents the fact that many members of Gen Z can't afford to not be politically engaged, highlighting Danni’s less than honest intentions. With Rowan’s help, Danni reaches the fame and recognition she always wanted. Eventually, though, Danni is “cancelled.” However, despite the fact that the film self-consciously presents her as an unlikeable female character, it still empathises with her desperation for validation and acknowledgment. In this sense, the film criticises not Danni or Gen Zers specifically, but the online culture that has convinced them to equate likes and comments with happiness. It also explores what it means to be “cancelled” without passing any definitive judgements. Lastly, this film feels very representative of a specific era of TikTok in 2020/2021. Danni’s outfits were very trendy in that timeframe, to the extent of being cringe, featuring looks consisting of bleached hair streaks and plastic-beaded jewelry. Although only released last year, the fashion already feels dated, which underscores the difficulty of keeping up with trends and maintaining an online persona when what's considered “cool” or “cringe” is always changing. Photo Credits: Photo 1, 3 - A24; Photo 2 - United Artists Releasing; Photo 3 - Searchlight Pictures

SHINING VALE: SEASON ONE Starring: Courteney Cox, Greg Kinnear, Gus Birney, Dylan Gage, Merrin Dungey, and Mira Sorvino Created by: Jeff Astrof and Sharon Horgan QUENTIN The thing about Shining Vale , an alleged horror comedy, is that it’s not particularly funny or scary. At best, it’s mildly amusing with a hint of subtle spookiness. It seems to think having Courteney Cox curse a lot is all you need to get laughs (which, to be fair, works more than it should). That said, the story, which is clearly influenced by The Shining (I’m sure the series title is no coincidence), is just intriguing enough to keep you watching. And with only 30-minute episodes, it works as a quick and pleasant distraction when you have a bit of time to kill.

KNUCKLES Starring: Idris Elba, Adam Pally, Ellie Taylor, and Scott Mescudi Creators: John Whittington and Toby Ascher AMARÚ The Knuckles series continues the Sonic the Hedgehog franchise’s utter commitment to children’s entertainment. Every actor and voice-actor, especially Idris Elba (Knuckles), takes their ridiculous roles seriously. Elba plays fish-out-of-water perfectly for the stone-faced echidna, and it’s his commitment that allows adults like me (aka a man-child) to find some enjoyment in the self-aware banter littered amongst the juvenile plot line. It’s at times too silly, so I can’t say this one is for adults and kids alike, but I appreciate that it doesn’t dumb down anything just to cater to its audience. For better and worse, Knuckles is a kids show that fully embraces its adolescent tone.

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!

SAUSAGE PARTY: FOODTOPIA Starring: Seth Rogen, Kristen Wiig, Michael Cera, Edward Norton, Will Forte, and Sam Richardson Creators: Seth Rogen, Evan Goldberg, and Conrad Vernon QUENTIN It’s always easy to review things like Foodtopia because if you enjoyed Sausage Party , then you’ll enjoy this sequel series (and vice versa). Nothing I can say will convert you, and you likely already know if you’re in or out. That said, since we’re here… It has the same raunchy comedy and incredible food punnery as the film; however, while it’s still very clever, the commentary, which skewers politics instead of religion, isn’t quite as sharp. Also, as should be expected, there is a slight downgrade in the animation quality. But, like I said, if you’re a fan, you’re a fan; Foodtopia won’t disappoint.

AGATHA ALL ALONG Starring: Kathryn Hahn, Joe Locke, Aubrey Plaza, Sasheer Zamata, Patti LuPone, Ali Ahn, and Debra Jo Rupp Creator: Jac Schaeffer AMARÚ Agatha All Along started off defying expectations and finished absolutely crushing them. It’s a wholly unique experience for the MCU, and whether the spookily melodramatic tones are for you or not, there’s no denying the showrunners crafted an authentically well-executed show. Jac Schaefer, the writer and creator of Marvel Television’s widely acclaimed WandaVision , wrote a layered script that’s excellently delivered by an ensemble of engrossing actors who, riffing off Kathryn Hahn’s terrific lead, create memorable characters you care about by journey’s end. Yes, Agatha delves into soapy camp territory, but they commit to the vibes so well that I thoroughly enjoyed myself. QUENTIN While some will think this is a compliment, Agatha All Along feels nothing like Marvel, instead coming off as a super campy, Disney Channel Original Musical Halloween Special. Admittedly, a spinoff about a side character from a miniseries that aired almost four years ago wasn’t something I needed, but the same could have been said for Andor , which is fantastic, so I gave it a shot. I didn’t expect Hocus Pocus meets Halloweentown , a corny approach that makes it hard to critique anything else because, although almost everything is hammy, that’s what the tone requires. This is, ultimately, the worst thing the MCU has ever released.

Previous Next With the recently released Haunted Mansion, we decided now was a great time for the Bitesize crew to put their brains together to compile Bitesize Breakdown's consensus Top Five Live-Action Disney Films. For inclusion on this list, a film had to be original Disney content, not from a property they acquired such as Lucasfilm. 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. THE MUPPETS It’s worth mentioning that both The Muppets and The Muppet Christmas Carol received votes for this Top Five, but it was the 2011 reboot that won in the end. The Muppets have been beloved for what seems like forever, and yet, in the years before this film, it felt like they’d been gone. The Muppets is fully aware of the characters’ growing irrelevance over the years, and brings them back to the spotlight in true Muppets fashion, by being funny, charming, and full of heart. - Adriano 4. REMEMBER THE TITANS If I randomly yell out “LEFT SIDE!!!,” and you don’t immediately respond “STRONG SIDE!!!,” I’m gonna look at you real funny-like. There isn’t a sports movie in the last twenty-some-odd years that uses a great ensemble of dedicated actors to inspire more confidence and motivation than Remember the Titans . Of course, you’ve got Denzel Washington doing Denzel things, but Will Patton might be at his best as Coach Yoast (sometimes giving Denzel a run for best actor on screen); not to mention Donald Faison, Wood Harris, Ethan Suplee, and a young Hayden Panettiere bringing great energy to the story. Also, don’t ever forget that Ryan Gosling is an absolute liability at cornerback. - Amarú 3. MARY POPPINS Though there have been many, no live-action Disney musical has quite blazed a trail so thoroughly as 1964’s Mary Poppins . So iconic was Julie Andrews’ titular performance that she took home Best Actress that year, and looking back, she more than deserved it. Beyond the Oscars, the film itself remains one of the finest examples of combining animation with live-action storytelling (even if only for one sequence), and so celebrated is the music that anyone should be able to tell you precisely what a spoonful of sugar does and exactly how the word Supercalifragilisticexpialidocious sounds. - Jacob 2. NATIONAL TREASURE What can I say about National Treasure that hasn’t already been said in hundreds of memes or on SNL Weekend Update ’s “Get in the Cage” segment? This extremely fun film franchise (we don’t talk about the Disney+ series) is The Goonies meets The Da Vinci Code , and instead of having Nic Cage be the whirlwind of crazy, it grounds him in relative normalcy while making the situations around him bonkers. Steal the Declaration of Independence? No Sweat. Kidnap the President of the United States? Easy peasy. Part history lesson, part heist caper, and all popcorn entertainment, National Treasure is what we want in our summer blockbusters. Now, please tell me more about Page 47… - Quentin 1. PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL Pirates of the Caribbean: The Curse of the Black Pearl is such an odd film to think about conceptually. You have non-action-star Johnny Depp at a quiet point in his career; Orlando Bloom, who had just jumped on the scene with The Lord of the Rings franchise; and Keira Knightley, the relative unknown from Bend It Like Beckham …in an adventure movie about pirates? Yet, it works... quite wonderfully, in fact. After two strong films, the franchise begins to falter, but everyone remembers that first film and the day they (almost) caught Captain Jack Sparrow (Depp). - Nick HONORABLE MENTIONS SAVING MR. BANKS FREAKY FRIDAY (2003) HONEY, I SHRUNK THE KIDS TRON: LEGACY THE CHRONICLES OF NARNIA: THE LION, THE WITCH, AND THE WARDROBE Photo Credits: Walt Disney Studios

Previous Next March 2, 2023 WRITTEN BY: NICK AND QUENTIN With the Oscars approaching and everyone focusing on 2022’s Best in Film, Nick & Quentin wanted to take a second to highlight 2022’s Best in Television. While some of these were massive successes, others flew under the radar. Either way, all are worth checking out. BLACK BIRD Taron Egerton is one of the most exciting young actors working today. The charisma he shows as a leading man can't be denied, and you get to see that here as he adds another wrinkle to his range. This tight, six-episode series is succinct, well-written, and expertly cast. Beyond Egerton, it features a chilling performance from Paul Walter Hauser (the standout of the series in his best work to date), and a heartbreaking Ray Liotta in what turned out to be one of his final roles. This is just solid storytelling from beginning to end, which is becoming the norm for Apple TV+ programming. - Nick Black Bird is currently streaming on Apple TV+. PEACEMAKER While some will say we have reached the point of superhero fatigue, Peacemaker is the perfect example of how the superhero genre can be used to tell character-driven stories. Yes, there is still a “save the world” dynamic, but it’s also the interesting exploration of a lonely man who just wants acceptance. John Cena delivers hilarious raunch and surprising nuance in his best performance yet, while Freddie Stroma steals nearly every scene as the oddly sweet sociopath Vigilante. And let’s not forget that banger of a theme song. If Peacemaker , which came from the mind of James Gunn, is any indication, the DCEU is in good hands going forward. - Quentin Season One of Peacemaker is currently streaming on HBO Max (US) and Crave (CAN). Although it has been renewed for Season Two on HBO Max, a return date is currently unknown. REBOOT What if we did a meta-comedy series about former sitcom stars featuring the guy from Key & Peele , the guy from Austin & Ally , the girl from Arrested Development , and the guy from Jackass ? Well, they did, and it really worked. Reboot is like watching a network sitcom minus the censorship. It never goes so far that it loses its mirroring of the classic sitcom stylings before it, but it also feels like it’s made for adults and not “the whole family,” though it is wrapped up in a nice family story carried by Paul Reiser as a man past his time. Unfortunately, Hulu canceled this series despite solid ratings, but it is being shopped to other networks. I hope it’s picked back up because I’d love to see these characters again. - Nick Season One of Reboot is currently streaming on Hulu (US) and Disney+ (International). Season Two is currently in search of a new network. REACHER On paper, Reacher isn’t anything special. A brilliant investigator, who likes to work alone, trying to solve a murder; this describes everything from Bosch to most of Bruce Willis’ work in the 90s. However, Alan Ritchson, whose charisma is only matched by his hulking frame, makes this series much more than that. You can’t help but to root for the guy, and you’ll find yourself grinning ear-to-ear as he uses his brain and his muscles to crack both the case and skulls. - Quentin Season One of Reacher is currently streaming on Prime Video. Season Two will premiere in the summer of 2023 on Prime Video. TULSA KING For a while, Sylvester Stallone was doing three things: returning to his famous characters of the 80s, forgettable action flicks, and The Expendables franchise, which feels like a mix of the first two things. Enter Tulsa King . This series gives Stallone a chance to play a more toned down badass with an entirely new character, and the results are great. It’s not a show that is afraid to get serious, but it understands the need for levity too. It also has a better script than anything he has starred in over the past 20 years that wasn’t part of the Rocky franchise. - Nick Season One of Tulsa King is currently streaming on Paramount+. Although it has been renewed for Season Two on Paramount+, a return date is currently unknown. INTERVIEW WITH THE VAMPIRE Have you ever checked out a show with an aloof, “eh, why not?” mindset, not really expecting much? Interview with the Vampire was one such show for me in 2022. Other than the 1994 film, I don’t have much connection to this story or anything author Anne Rice has done. However, I was immediately hooked by the lush production design, gothic atmosphere, and tremendous performance of Sam Reid as Lestat (though Jacob Anderson and Eric Bogosian are also quite good). This series is the start of AMC’s Immortal Universe, an interconnected franchise of gothic horror series based on Anne Rice’s novels, and one can only hope they are all as good as this one. - Quentin Season One of Interview with the Vampire is currently streaming on AMC+. Although it has been renewed for Season Two on AMC, a return date is currently unknown. OUTER RANGE After the finale of its first season, it was just plain cruel for Prime Video to delay the announcement of Season Two for as long as it did. The storytelling is a slow burn, but it’s well worth it as it provides numerous interesting directions to take the series. Most importantly, with the aspect of the dueling families, it was able to stay grounded despite being a series with clear sci-fi roots. Beyond the storytelling, the series features a great ensemble led by Josh Brolin but without a weak link in the bunch, with a special shout out to Will Patton, who does typically great work. - Nick Season One of Outer Range is currently streaming on Prime Video. Although it has been renewed for Season Two on Prime Video, a return date is currently unknown. WINNING TIME: THE RISE OF THE LAKERS DYNASTY Even as a person who couldn’t care less about the NBA, let alone the NBA from before I was born, Winning Time won me over on the strength of its impeccable casting (from both the actual talent and the looking-the-part perspective) and its groovy ‘70s vibe. I’ve always found the inner workings of a sports franchise’s front office interesting, so when you add all those elements together, then film them with a pseudo-documentary realism (including fourth wall breaks), you get a show that I was eager to return to every week. The fact that this intended miniseries was given a second season should tell you just how good it was. - Quentin Season One of Winning Time is currently streaming on HBO Max (US) and Crave (CAN). Season Two will premiere in the second half of 2023 on HBO Max. THE OLD MAN Jeff Bridges was an old man, but now he’s THE old man. In all seriousness, this show is a blast. Bridges’ Dan Chase battles his way through attackers while not hiding how his age has affected him, and John Lithgow’s Harold Harper drops F-bombs with such vitriol you’d think his last name was L. Jackson. There are even a few intriguing mysteries sprinkled in, especially surrounding the whereabouts of Chase’s daughter, not to mention it has the distinction of having one of the best pilots of 2022. Season One of The Old Man is currently streaming on FX. Although it has been renewed for Season Two on FX, a return date is currently unknown. THE OFFER Truth be told, a lot of people shit on The Offer (57% on Rotten Tomatoes), and I cannot for the life of me figure out why. Maybe it’s because it deigned to revisit the behind-the-scenes drama of unassailable cinematic classic The Godfather , I don’t know. What I do know is that The Offer combines old Hollywood legend with an interesting mob angle, then drops it in the hands of a more than capable cast. Almost all involved do nice work, but Matthew Goode as famed producer Robert Evans is pitch perfect. Plus, it makes you want to rewatch The Godfather , which is never a bad thing. - Quentin The Offer is currently streaming on Paramount+. WE NEED TO TALK ABOUT COSBY Every year, there is a series I champion and promote to everyone I know as a must-see, and this was that series for 2022. The direction by W. Kamau Bell is perfect in the way he balances the legacy and importance of Bill Cosby to both black culture and comedy before jolting you with the contrast of his victims’ stories. It’s one of the best art v. artist examples I’ve seen, and every interview subject adds something to the piece. I warn you, though, this is not an easy watch. It is, however, an important one. If you haven’t seen this series yet, do yourself a favour and make the time to watch it. - Nick We Need to Talk About Cosby is now streaming on HBO Max (US) and Crave (CAN). THE BEAR In hindsight, The Bear is probably the surprise hit of 2022’s television season: a quiet, out-of-nowhere dramedy with no real stars, 30-minute episodes, and a gritty indie vibe. There was almost no marketing for this show, yet word-of-mouth carried it to being one of the most talked about and acclaimed series of the year. I mean, it inspired an entire generation to start dropping “Yes, Chef” in random conversation. On top of that, it’s the most authentic representation of working in a blue-collar kitchen that I have ever seen. It’s stressful, funny, heartfelt, and, most importantly, utterly fantastic. - Quentin Season One of The Bear is currently streaming on Hulu (US) and Disney+ (CAN). Season Two will premiere in early summer of 2023 on Hulu. WE OWN THIS CITY This series initially made headlines because it came from David Simon, who is best known for creating The Wire . It was the performance of Jon Bernthal that really roped me in, however. The man just exudes charisma, and he gets to display it in all his glory here. This true story about the Baltimore Gun Trace Task Force spans 20+ years over six episodes, and spotlights the corruption within the police force. It has been a problem for a long time, and it’s something we certainly haven’t heard the last of yet. - Nick We Own This City is currently streaming on HBO Max (US) and Crave (CAN). FROM For years, networks have been trying to recapture the magic of Lost , so much so that “the next Lost ” has become kind of a laughable death knell since no one has been able to do it successfully. Enter From , a series about a town that mysteriously traps anyone who enters while also being plagued by supernatural creatures that only come out at night. This series boasts incredible world building, legit scares, subtle gore, and, most importantly, a compelling mystery that seemingly has no easy answers. The next Lost has finally arrived. - Quentin Season One of From is currently streaming on MGM+, formerly known as Epix, (US) and Paramount+ (International). Season Two will premiere April 23rd, 2023, on MGM+. A FRIEND OF THE FAMILY I had never seen the documentary about the unbelievable true story this series is based on, so some of the story’s twists likely affected me more than for those who had. But even if you know what you’re in for, you’ll likely be content with this adaptation. Jake Lacy is just so uncomfortably manipulative as kidnapper Robert Birchtold as he uses his charm to get away with his evil deeds. It’s just an excellent performance. Meanwhile, Colin Hanks and Anna Paquin play the naïve parents to a T. It’s a story that feels too outlandish to be real, but it’s true, all of it, and that may be the craziest thing of all. - Nick A Friend of the Family is currently streaming on Peacock. HOUSE OF THE DRAGON Let’s be honest: House of the Dragon was fighting an uphill battle when it premiered. It had to contend with the hype of “good” Game of Thrones , the bad taste of Thrones ’ final season, and Prime Video dropping a competing (and tremendously expensive) fantasy show, The Rings of Power , at the same time. Given all that, the fact that Dragon works at all is a minor miracle. Admittedly, it’s mostly doing heavy lifting for future seasons, especially with the somewhat confusing time jumps, but there is no denying that the excellent casting, production design, castle intrigue, and “anyone can die” vibe of Thrones’ earlier seasons is back in full force. - Quentin Season One of House of the Dragon is currently streaming on HBO Max (US) and Crave (CAN). Season Two will premiere on HBO in 2024. OBI-WAN KENOBI One of the first films I remember watching as a child is Star Wars: A New Hope , so when they announced The Phantom Menace , I excitedly went to the theatre on opening night (months shy of my eighth birthday) and was blown away. Now, I don’t have that same opinion as an adult, but those characters are special to me. So, watching Ewan McGregor return to the robes of Obi-Wan Kenobi for this series was supremely satisfying. Plus, there is darkness here that Star Wars first introduced to live action with Rogue One . We get to see Darth Vader at his most ruthless while exploring the relationship between Anakin (Hayden Christensen) and Kenobi more in depth. The series doesn’t quite reach the heights of The Mandalorian , but it features some of the best scenes in Star Wars history, and I would welcome a second season. - Nick Obi-Wan Kenobi is currently streaming on Disney+. ANDOR Here’s the tea: whether you’re willing to admit it or not, Star Wars is not a great franchise. Sure, its few highs are very high, but it’s mostly a series of mediocre (or worse…much, much worse) lows. That said, please place Andor on the peak of that high pile. Despite a slow start, it’s a layered story of rebellion and the birth of a hero, presented with the grit and grime that a story like this deserves. And you know the best part? No Skywalkers, no Force, no lightsabers. Just tales of political intrigue, heists, prison breaks, and espionage told through rich writing, complex characters, and terrific casting. The fact that it happens to be Star Wars -affiliated is almost irrelevant. - Quentin Season One of Andor is currently streaming on Disney+. Season Two will premiere on Disney+ in 2024. PAM & TOMMY It would have been so easy for this series to fall into parody, but since Sebastian Stan and Lily James took their jobs so seriously, this really worked. The pair gives arguably the two most entertaining performances of the year, and James’ transformation into Pamela Anderson is mesmerizing. It’s a travesty she didn’t get any Emmy hardware for her performance. The angle of telling the story from the POV of the man who stole the sex tape (Seth Rogen) and the intricate workings of everything that came after was also a very good call. A nice mix of laughs and absurdity in this one. Pam & Tommy is currently streaming on Hulu (US) and Disney+ (International). GEORGE & TAMMY Admittedly, mileage may vary on this one, but, if like me, you grew up on country music, George Jones is a musical legend. And, if like me, you are a sucker for musician biopics, especially for artists whose music you are very familiar with, this series is a must watch for fans of The Possum, even if it’s more Tammy’s (Jessica Chastain) story than George’s (Michael Shannon). It’s an incredibly bingeable watch at only six episodes, yet I could have watched several more hours of this hard-living love story. Plus, the music. Both Chastain and Shannon do their own singing and absolutely nail it. Lastly, I’ve been playing George Jones on repeat since the finale. If that’s not a lasting and immediate impact, I don’t know what is. George & Tammy is currently streaming on Showtime (US) and Crave (Canada).

THE AFTERPARTY: SEASON TWO Starring: Tiffany Haddish, Sam Richardson, Zoe Chao, Elizabeth Perkins, Zach Woods, Paul Walter Hauser, Poppy Liu, Anna Konkle, Jack Whitehall, Vivian Wu, Ken Jeong, and John Cho Creator: Christopher Miller NICK Talk about a sophomore slump... Season Two of The Afterparty is sadly underwhelming in every way. The new cast may boast more star power, but their characters and the mystery they’re tasked with solving are less interesting. As for the returning cast, the most notable thing is how annoying they’ve made Zoe Chao’s Zoë. Even the well constructed genre episodes that made Season One work so well are done half-assedly. Sure, there’s one entertaining episode surrounding Tiffany Haddish and Michael Ealy, but it’s not enough to bring me back for a potential third season. ADRIANO As someone who very much loved the first season, it brings me no pleasure to say that Season Two of The Afterparty is a disappointment. It still has some of the charms and quirks of Season One, and the genre hopping is still fun to watch, but the mystery isn’t nearly as captivating, it’s not quite as funny, and the cast is not as unique (aside from Sam Richardson, whose talent Hollywood needs to embrace finally). Overall, the cohesion just isn’t there, and it breaks my heart to say that. QUENTIN Season Two of The Afterparty is an excellent example of what can happen when a network (or streaming service) decides to grant an unplanned second season to a surprising hit miniseries. I mean, man…talk about a sophomore slump. Almost nothing works or hangs together cohesively this time around, from the cast chemistry to the mystery to the different takes on various genres. It’s almost like they decided to lean into an anthology approach, which means neither the central story nor the characters are compelling on an episode-to-episode basis. It’s been a while since I’ve seen a show drop off this badly. Also, Hollywood…less Tiffany Haddish, please.

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.