Search Results

Previous Next October 31, 2022 WRITTEN BY: JOSEPH Horror stories have existed throughout history in a variety of forms. Oftentimes, horror is used as a cautionary tale to reflect on the ills of our own society. Children are warned to not venture too far lest the boogeyman will snatch them up, creatures like the Wendigo reinforce cultural taboos towards cannibalism during famine, and Frankenstein’s monster shows the fear of humanity wielding the power of God irresponsibly. While many horror stories certainly have greater meaning behind the terror, I think to most fans, horror has mostly been about gaining an adrenaline rush in a safe environment. We just want the scares! However, modern horror seems to offer much less in actual fear-generating. It makes me wonder…. “Is horror dead?” Growing up, I remember every other horror film being marketed as “the scariest film since The Exorcist ” (or the even more bold, “scarier than The Exorcist ”). While younger generations, myself included, may not find The Exorcist as scary as audiences did upon its release in 1973, it still holds up in many ways. It has yet to truly be challenged by any other film. Horror films of the late 90s and early 2000s may have been billed as the next The Exorcist , but many failed to leave a cultural imprint, only being remembered by the most devoted horror fans. With very few exceptions, horror films haven’t really made an impact since the turn of the millennium. I’d also argue that virtually none have come close to being as scary to their audiences as The Exorcist was nearly 50 years ago. Some may make a case for Hereditary , Paranormal Activity , or Sinister , but I say they did not have the same effect on their audiences that classic horror films did. Why is that? There is a lot of blame to go around, but I mostly blame the use of CGI over practical effects. The Universal Classic Monsters may have come out too far back to gauge how much they truly scared their audiences, but their cultural significance cannot be denied. They’re instantly recognizable and referenced in all forms of media, serving as a blueprint for much of the horror genre even today. The B-movies of the 50s and 60s continued the trend of using monsters on screen. While the costumes have become laughable because they were so cheesy, they still serve as a main influence in subcultures such as psychobilly and horror punk. They also paved the way for the exploitation films of the 70s. Still, it seems that the majority of what are generally considered to be the “scariest” movies of all time come from the 70s and 80s. As I mentioned before, The Exorcist is often touted as the scariest film ever, but it's not the only iconic piece of horror cinema from that era. We saw plenty of growth in the genre as it diverged to slashers and other forms of religious horror. Iconic creatures like Alien ‘s Xenomorph were spawned in sci-fi horror, and we saw increased reliance on practical effects as the slasher subgenre emerged. With Halloween ’s Michael Myers, the featureless white mask was extremely effective, while Friday the 13th ’s Jason Voorhees and A Nightmare on Elm Street ’s Freddy Krueger used make-up and still iconic costume designs to highlight their more grotesque features. There were grisly creatures and disgustingly fun deaths put on screen. Along with those iconic slashers, other great movie monsters graced the silver screen, like Predator, Audrey II from Little Shop of Horrors , and, of course, the werewolf from An American Werewolf in London , which features an astounding transformation scene that has yet to be beaten. Furthermore, these practical effects gave way to bizarre body horror, allowing for potentially forgotten films from decades before, such as The Fly and The Thing , to be revisited and improved upon. In my opinion, the hey-day of horror was driven by practical effects, but as computers improved and became more accessible, film studios did their best to utilize the technology in all their films. As a result, many 90s films are filled with ugly polygonal creatures and special effects that weren’t convincing even then (and have only grown to be worse now). Just like director David Cronenberg thought he could use improved physical effects to make a better version of The Fly in 1986, some filmmakers thought they could use new computer technology to reinvent the films of the past to inspire terror in new generations. Sadly, it didn’t happen. The incredibly self-indulgent Van Helsing (2004) may have had some cool ideas, but the tone removed all the scary elements of the creatures they were reinventing. The Fog (2005) replaced leprous, ethereal zombies with wispy, transparent spirits. CGI quality may have improved, but there were no real scares to be had. There are some outliers from that era, like The Others and The Descent , but they used practical effects and large sets to deliver their thrills. There aren’t many, if any, CGI-driven horror movies that will keep you up at night. Nothing that kids will dare each other to watch at sleepovers for years to come. It’d be easy to say horror is just a genre of tired clichés, trying to constantly reinvent the wheel while staying formulaic. As a horror fan, I resent that notion because a lot of great, if not scary, horror comes out every year. However, one film embodies nearly all the flaws I see in modern horror: A Quiet Place . Don’t get me wrong, A Quiet Place has a fantastic premise and is overall well executed, but like many horror films, the film gets less scary once we finally see the monster. The Death Angels in A Quiet Place are fully CGI, and though they are imposing, they’re clearly not actually there. Death Angels share similar characteristics with the Xenomorph, yet they are incredibly forgettable. Can you remember what they even look like? Probably not. On top of that, they never physically interact with our protagonists, which only fuels the lack of believability. Meanwhile, the Alien franchise has historically done things the opposite way. For the most part, each film has used primarily practical effects for each stage of the Xenomorph’s life cycle, eliciting a myriad of emotions from disgusted by the slimy, fleshy eggs to horrified by the large Alien Queen. Eventually, though, even that franchise took the lazy CGI path in its latest and probably final entry, Alien: Covenant . Aside from having some of the dumbest movie characters ever, Alien: Covenant almost exclusively used CGI for its creature designs. While this did assist with the newer Neomorphs, it only hurt the Xenomorph. A creature that almost always had been shown with practical effects and under the cover of darkness was now a fully CGI rendering in broad daylight. The result is disappointing, distracting, and odd. But, more importantly, it’s no longer scary. While Alien: Covenant may have put the nail in the coffin on any future Alien sequels, Universal also had some problems with horror and CGI. 2017’s The Mummy tried to spearhead the launch of the Dark Universe, a reimagining and modernization of the classic Universal Monsters in a shared universe akin to the MCU. However, in trying to bring this giant spectacle to the big screen so quickly, even going as far as to publicly release an ill-fated cast photo, the Dark Universe was quickly shelved after The Mummy ’s poor critical and commercial performance. If a CGI-driven horror movie starring Tom Cruise was a failure, the lesson should be that horror as a CGI spectacle just doesn’t work. Truthfully, it’s a lesson that should have been learned after the previous soft attempts at reinventing the Universal Monsters with Dracula: Untold and 2010’s The Wolfman . Neither of those films resonated with audiences or critics, but one good thing did eventually come out of it: the course correction that is Leigh Whannell’s The Invisible Man . The Invisible Man offers a full reimagining of the original H.G. Wells tale by turning it into a social commentary on domestic violence and gaslighting. It may not keep you up at night, but it touches on the fears that someone is always watching you, as well as the horrifying concept of someone actively trying to drive you crazy (even more so for women). Blumhouse, the company behind that 2020 hit, has fueled some of the more successful horror films in recent years, from the Purge franchise to the “scariest” film according to science, Sinister . Still, a fast heart rate doesn’t quite replicate the same cultural effect as The Exorcist , and while Sinister may be the scariest film ever according to “data,” that seems more attributable to the famous lawnmower scene causing a significant rise in heart rates than it being an overall scary movie. The best thing The Invisible Man did was highlight one of the horror genre’s biggest strengths, which is the unseen. The unseen, especially before a jump scare, is precisely why jump scares often work. It’s also why ghost stories remain so effective. The Conjuring and Insidious are other modern examples of effectively scary films, even if they don’t inspire the same widespread fear as The Exorcist ; however, I do think The Conjuring has created another issue permeating modern horror: branding. The Conjuring has ultimately become its own cinematic universe, taking the loosest bit of “true stories” and weaving them into a film that somehow ties into the real-life paranormal investigators/charlatan couple, the Warrens. Annabelle and the Nun have both become leaders of their own spin-off franchises, but like with movie monsters, the more that is shown, the less scary these characters are. The greatest example of this is Annabelle Comes Home , the third film featuring the demonic doll. It serves as a fun romp through the Warrens’ occult museum, but it’s more focused on setting up new spinoffs and serving as a litmus test to see what the studios can turn into a film later than it is delivering scares. The first two The Conjuring films focused more on ghosts and the unseen, but the spinoffs have turned into a whole ‘nother thing. Same thing can be said about what The Walking Dead has done to the zombie. Though the show uses practical makeup and effects, and is technically a horror show, it’s more of a brand than anything else at this point. People do not watch it to get scared. Anecdotally, it feels like a show for people who dislike horror, as the only fans of the show that I know aren’t typically horror people. It’s a post-apocalyptic survival show that uses zombies as a selling point. The zombies are almost irrelevant at this point, and they certainly aren’t scaring anyone. So, is there anything that can be done to revitalize the horror in horror? The answer is I’m unsure. The ghost story still seems effective, building upon the notion of the unseen, and a lot of fear can be generated from items moving around inexplicably. As for any creature features, there is an uphill climb to get away from the recent norm of computer-generated spectacle. CGI monsters don’t inspire fear, zombies have been overdone, and practical effects are becoming rarer and rarer. Lovecraftian tales are a little more effective as they typically deal with unknown and unseen forces, while also blending them with bizarre and horrific practical effects (two notable examples being Annihilation ’s bear and the fused bodies in The Color Out of Space ). There’s also the fact that I think the indifference and nihilism within Lovecraftian stories represents the current cultural landscape really well, as the state of the world has left many feeling hopeless. These types of stories may prove to be more effective in horrifying and inspiring dread, especially among younger generations who dread every day life. And in the prior statement lies my final point: the world is scary. There is so much instability and anxiety in every factor of real life that horror can barely compare. There is hardly a singular monster we can channel all our insecurities into like in days past. For Cold War insecurities, we had pod people and The Thing . For a youth culture interested in breaking the taboos of premarital sex and recreational drug use, the slasher entered the scene. Wartime scandals like Abu Ghraib were mirrored by torture porn like Hostel and Saw . Now, we have all that and more, and it’s everywhere…television, news, social media, a crowded street, the dinner table. We can’t escape it, and the only truly scary thing is the feeling of “oh, god, what’s next?” Hardly anything can compare to “not knowing” and the unexplainable, which is why I feel ghost stories still manage to maintain a hold on audiences most consistently. It’s also why I feel that Lovecraftian horror is maybe the only chance we have at making films truly scary again. The unknown is terrifying, especially when one considers all of the known horrors in the world. At the end of the day, though, horror is in the eye of the beholder. There is no one thing that scares everyone anymore. Horror has expanded to a plethora of subgenres and niches. Still, it has managed to stay relevant, and is beginning to reemerge as a more popular genre following films like Get Out and Hereditary . Recent films like Barbarian and Terrifier 2 are showing film studios that there is a market for good horror, and more importantly, that these films don’t need a huge budget or an over-reliance on CGI to be successful. Hell, Terrifier 2 has had some of the best viral marketing I’ve seen thanks to the leaked clip that so many found too gruesome (personally, I thought it was hilarious, but different strokes for different folks). Ultimately, the future of horror as a genre seems to be in good hands, but it remains to be seen what that means in terms of actual scares. Photo Credits: Photo 1, 4, 7, 8 - Universal Pictures; Photo 2, 3, 6 - 20th Century Studios; Photo 5, 10 - Paramount Pictures; Photo 9 - Warner Bros.; Photo 11 - Bloody Disgusting

GANGS OF LONDON: SEASON TWO Starring: Sope Dirisu, Lucian Msamati, Michelle Fairley, Brian Vernel, Valene Kane, Paapa Essiedu, Pippa Bennett-Warner, Asif Raza Mir, Orli Shuka, Narges Rashidi, Waleed Zuaiter, Jahz Armando, Fady Elsayed, Salem Kali, and Aymen Hamdouchi Creators: Gareth Evans and Matt Flannery QUENTIN Be it the almost three-year hiatus or that show creator Gareth Evans took a step back this season, Gangs of London ’s second offering isn’t quite as strong as its first. The great acting and extremely violent action scenes are still present, but the story is kind of a bore. I often found myself just waiting for the next bloody fight scene or exhilarating shootout. Thankfully, there are plenty of those sequences, so I was never waiting long, but biding time between moments of explosiveness isn’t as fun as becoming engrossed in the story at hand. I’ll be back for Season Three, albeit with a short leash.

UNSTABLE: SEASON TWO Starring: Rob Lowe, John Owen Lowe, Sian Clifford, Aaron Branch, Rachel Marsh, Emma Ferreira, Fred Armisen, Iris Apatow, and Lamorne Morris Creators: Rob Lowe, John Owen Lowe, and Victor Fresco QUENTIN In its second season, Unstable remains a decent enough watch, but it’s nothing more than a nice diversion. If it weren’t for the compact episodes (about 20 minutes each) and short season (eight episodes), I probably wouldn’t have stuck with it. However, Rob Lowe’s brand of pretty boy buffoonery is charming and amusing enough to pass the time, especially on a lazy day when all you want to do is lay on the couch and not think too hard. If it comes down to watching something as admittedly unsubstantial but moderately enjoyable as Unstable or mindlessly scrolling social media or Reddit, the choice is easy.

THE MADNESS Starring: Colman Domingo, Marsha Stephanie Blake, John Ortiz, Tamsin Topolski, Thaddeus J. Mixson, and Gabrielle Graham Creator: Stephen Belber QUENTIN If you aren’t a Colman Domingo fan, which doesn’t make any sense because he’s great in everything he has done, you probably don’t need to bother with Netflix’s The Madness . From an overall series perspective, it's kind of a mess. Sure, there are twists and turns that might half-heartedly get you to watch the next episode, but the conspiracy, characters, and social commentary are underwritten and a tad preachy, making it hard to truly invest in them. That said, probably-soon-to-be-two-time-Oscar-nominee Domingo single-handedly wills the bloated series into something watchable through a typically commanding performance despite his character being a somewhat empty and poorly developed vessel.

MR. SCORSESE Starring: Martin Scorsese, Thelma Schoonmaker, Leonardo DiCaprio, Robert De Niro, Daniel Day-Lewis, Jay Cocks, Jodie Foster, Spike Lee, Steven Spielberg, Nicholas Pileggi, Ari Aster, Cathy Scorsese, Francesca Scorsese Creator: Rebecca Miller KATIE I loved every minute of this documentary. I don’t think I’ve ever described a documentary as fast-paced and exciting, but it really is. Moving through director Martin Scorsese’s filmography in chronological order, as well as his personal history, this series highlights the impact he has had on the cinematic landscape, society, and those closest to him. It’s visually distinct, connecting his films with significant times in his life, and ridiculously entertaining with often funny anecdotes, all accompanied by a fantastic soundtrack. Overall, Mr. Scorsese is a hugely enjoyable documentary, and a stunning portrait of one of the greatest living filmmakers. QUENTIN If you’re a fan of director Martin Scorsese in any capacity — or just an unashamed cinephile — Mr. Scorsese is a must watch. Granted, depending on your level of fandom, it might be a little too long at five hours, but it covers everything from his upbringing to personal battles, from relationships with Robert De Niro and Leonardo DiCaprio to his connection to the music world. Scorsese is surprisingly open and vulnerable as an interview subject, and he’s surrounded by a collection of equally noteworthy and powerful artists that add rich context to his career. If nothing else, it’ll make you want to rewatch his entire filmography.

LANDMAN: SEASON ONE Starring: Billy Bob Thornton, Ali Larter, Jacob Lofland, Michelle Randolph, Paulina Chávez, Kayla Wallace, Mark Collie, James Jordan, Demi Moore, and Jon Hamm Creators: Taylor Sheridan and Christian Wallace QUENTIN For better or worse, Landman is more of the same from prolific show creator Taylor Sheridan. On one hand, you have a stellar cast (Billy Bob Thornton, especially) willing the show to be better than it should be through sheer charisma and screen presence (not unlike Sylvester Stallone in Tulsa King ), as well as the dusty blue-collar vibe that Sheridan loves so much. On the other hand, Sheridan still can’t write a nuanced female character to save his life, and there are uninteresting and undercooked tangents shoehorned in to pad the season. That said, if you like Sheridan’s other shows, you’ll probably like this one too. PRESTON After Yellowstone took a dive following the departure of Kevin Costner, it is refreshing to see Taylor Sheridan (creator) attack another gritty, blue-collar world with an equally exceptional lead in Billy Bob Thornton. That said, Landman has some minor problems (don’t we all), specifically the borderline exploitative sexualization of his daughter, the inclusion of a lawyer and widow that operate at unbalanced extremes, and narratives that meander a bit too much; still, none of these issues have restricted my enjoyment or anticipation of every new episode. I hope this show is around for a while, but I’m already sold on whatever Sheridan’s next project is.

CHIEF OF WAR Starring: Jason Momoa, Temuera Morrison, Luciane Buchanan, Te Ao o Hinepehinga, Kaina Makua, Moses Goods, Siua Ikaleʻo, Brandon Finn, James Udom, Mainei Kinimaka, Te Kohe Tuhaka, Siaosi Fonua, Cliff Curtis, Benjamin Hoetjes, and Erroll Shand Creators: Jason Momoa and Thomas Pa’a Sibbett QUENTIN Chief of War is a gorgeously shot miniseries that clearly wants to be Hawaiian Shōgun ; however, despite the luscious landscapes, authentic production design, and a committed performance from Jason Momoa, the story is too overstuffed with underwritten characters and subplots to do them all justice. It certainly has excellent moments, notably the two-episode premiere and final battle, but in between is rushed plotting and laggy pacing. I respect that Momoa — who created, co-wrote, and produced the series — wants to honor Hawaii’s history and his underrepresented heritage, but I wonder if Chief of War would’ve been better as a movie, even if that meant omitting some factual details. KATIE Chief of War is a solidly entertaining miniseries, unique in its focus on Hawaiian history and indigenous voices. Creator, co-writer, and producer Jason Momoa brings this undertold story to the screen in an authentic, epic way, evidently with a lot of care, and I was excited to watch something in the Hawaiian language. It also has some well-choreographed fight scenes with gnarly violence. I did find that it struggled to carry the weight of all its characters and subplots. Yet and still, the cast is fantastic, and it's beautifully shot with impressive production design that reflects the care that went into it.

LIKE A DRAGON - YAKUZA: SEASON ONE Starring: Ryoma Takeuchi, Kento Kaku, Munetaka Aoki, Yumi Kawai, and Kōichi Satō Creators: Sean Crouch and Yugo Nakamura QUENTIN Since I’ve never played the Sega video games, it’s hard to know if I’ll be more or less forgiving than die-hard fans. As a series on its own merit, though, Like a Dragon isn’t without some promise, mostly in watching the various lifepaths of four youths in the Yakuza’s orbit. However, that intriguing setup is undone by a confusing and momentum-killing, flashback-ridden narrative. It’s constantly jumping between 1995 and 2005, which often left me scratching my head as to which young character correlated to which old character. Plus, and maybe it’s the poor dubbing, but there is a certain campiness that undermines the inherent seriousness.

Previous Next Awards Season is upon us, including the Grammys, which take place on February 4th. Between that and everyone jamming out to “I'm Just Ken,” we figured what better time to look at our favourite original songs from movies. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Original Songs. It doesn’t matter if it was performed on screen by a character or simply played over the closing credits… if it was written specifically for a film, it’s eligible. Each writer ranks his or her top 15 songs 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. “DON'T YOU (FORGET ABOUT ME)” – SIMPLE MINDS (THE BREAKFAST CLUB) No director has tapped into the teenage way of life quite like John Hughes. His film The Breakfast Club is considered one of the ultimate coming-of-age films, and Simple Minds' hit song "DON'T YOU (FORGET ABOUT ME) " perfectly captures the message of each character’s journey and time spent in detention together. It truly encompasses the bond these misfits have developed through the memorable experience they go through. Though it bookends the movie, it’s more perfectly placed at the end of the film, with Bender (Judd Nelson) raising his fist in the air, creating one of film’s most iconic endings. - Paige 4. “DANGER ZONE” – KENNY LOGGINS (TOP GUN) Can you think of a better opening sequence to a film than Top Gun ?! I’d bet you can’t because the magnificent combination of Navy servicemen doing God’s work on the surface of a notoriously dangerous aircraft carrier while “DANGER ZONE ” is blaring is inarguably one of the best. In fact, it was so good that it was also used in the very similar opening scene to the film’s sequel, Top Gun: Maverick . Kenny Loggins logs (pun intended) another 80s hit by working with the same writer and composer of the Academy Award-winning “Take My Breath Away” (Tom Whitlock and Giorgio Moroder). So, give a little kick, a fist pump, and a salute to the song that helped this soundtrack go 9x platinum! - Preston 3. “PURE IMAGINATION” – GENE WILDER (WILLY WONKA & THE CHOCOLATE FACTORY) The Academy Award-nominated song “PURE IMAGINATION ” captures everything that is magical, enchanting, but also unorthodox about Willy Wonka & the Chocolate Factory . Written by British musicians Anthony Newley and Leslie Bricusse, the song recalls one of the most iconic scenes in the film: the first glimpse inside the fantastical chocolate factory. Gene Wilder’s spectacular performance also gives insight into the mind of the eccentric chocolatier that ranges from manic to endearing. The song is, at least for many, nostalgic and emotional, and has been covered, remixed, and sampled countless times, most recently in last year’s Wonka , which features a re-touched version sung by Timothée Chalamet. However, this instantly recognisable classic will always be Wilder’s, and it remains one of his most beloved performances. - Katie 2. “STAYIN’ ALIVE” – THE BEE GEES (SATURDAY NIGHT FEVER) The 70s hit “STAYIN' ALIVE " firmly cemented The Bee Gees as The Kings of Disco, and for good reason. The song is expertly crafted - from the meticulously layered production to the infectious bassline to that earworm of a hook - it just hits every damn time. As an original song produced for Saturday Night Fever , it backs an iconic intro sequence that features John Travolta strutting along to that unmistakable beat. It’s easy to see how this original song boogied its way on up to our number two spot. It’s fun, it’s groovy, and just like Tony Manero (Travolta), it’s cool as hell. - Caleb 1. LOSE YOURSELF – EMINEM (8 MILE) I don't want to be too presumptuous, but I’m willing to bet there aren't many people who haven't had Eminem's "LOSE YOURSELF ” stuck in their head at some point in time. With a catchy hook and an emotional core guiding it, this Oscar-winning song from the 2008 semi-autobiographical drama 8 Mile is just about the best representation of a movie you can get. Eminem's lyrics are powerful, and they contribute to an energetic beat that has made the song a 13x platinum hit. As someone who's not really a rap fan, I can easily recite this song from memory at a moment's notice. Like Mom’s spaghetti, it's just that good. - Adriano HONORABLE MENTIONS EYE OF THE TIGER - SURVIVOR (ROCKY III) FIGHT THE POWER - PUBLIC ENEMY (DO THE RIGHT THING) FOOTLOOSE - KENNY LOGGINS (FOOTLOOSE) PURPLE RAIN - PRINCE (PURPLE RAIN) THE POWER OF LOVE - HUEY LEWIS AND THE NEWS (BACK TO THE FUTURE) Photo Credits: Photo 1, 5 - Universal Pictures; Photo 2, 3, 4 - Paramount Pictures

Previous Next December 18, 2024 WRITTEN BY: PAIGE For those occasions when you simply need a break from it all or a little pick-me-up, nothing quite beats turning off your brain, cozying up, and throwing on a feel-good flick. The Feel-Good genre is a bit of an ultra-meta idea. For some, it may be an epic action flick filled with explosions, or perhaps a satisfying mystery. For others, it may be a horror movie that gives you nightmares, or a beautiful love story that speaks to their inner romantic. So, with that subjective ideal in mind, I didn’t overthink this list. My sole requirement is the movies leave me — and, I hope, you — feeling better through wonderfully optimistic messages that we all need every once in a while. Let’s face it, we’ve all experienced the days, or maybe even the weeks, when everything that could go wrong does go wrong. The movies below might just be the remedy you need to cheer yourself up because I can assure you that they will put you in a good mood, making whatever that is bothering you feel like a distant memory. Like they say, when life hands you lemons, press play on a feel-good film and watch your spirits start to lift. GOOD MORNING, VIETNAM (1987) Robin Williams, the man who always makes me smile when I see his face on screen, must make an appearance on my list of movies to lift your spirits. Good Morning, Vietnam , especially, warms my heart every time I watch it. This war dramedy examines some of the hardest moments humanity has gone through, but it does so through Williams' humorous perspective. The film emphasizes the power that laughter and music have and their ability to bring people together even in the toughest of times. Much like comedy, music can improve your mood and give you a sense of understanding, support, and connection when things get tough, and this film achieves just that. THE SANDLOT (1993) As an adult, sometimes I wish I could just go back to the good ol’ days, when I was a kid and didn’t have a care in the world. The Sandlot takes me back to those times, so when I’m feeling like I need a breather, I re-watch the modern classic. Watching it as a kid, the movie taught me about the value of friendship and courage. Now that I’m older, those themes have stuck with me even more, feeling increasingly relevant. It reminds me that life is not about winning or losing, but about evolving to face and overcome your fears. This coming-of-age movie is genuinely sweet and funny, with a ton of lessons for all ages to appreciate. LITTLE MISS SUNSHINE (2006) Watching this family go above and beyond to fulfill their daughter's dreams is sure to make you smile. There’s just something about watching everything come together that will cheer your soul despite its intentional imperfections. This beautiful film teaches us that it’s acceptable to be imperfect and that you don’t need to be what “society” considers to be the norm. It teaches us that it is okay to be sad, to cry, to scream, and to lose, because at the end of the day, we are only human, so it’s most important to just be yourself. Little Miss Sunshine exhibits sentiments of joy and hope, as well as a fantastic dance sequence at the end of the film. EASY A (2010) To be honest, Easy A is among the best teen films of the 21st century. Double standards are boldly called out in this modernized adaptation of Nathaniel Hawthorne's 1850 novel The Scarlet Letter , and many younger viewers can definitely relate to the film, especially those who were in high school in the 2010s. In our teens, many of us struggled to define who we were in the face of social pressure to fit in, not to mention (especially for us ladies) being "slut shamed” due to our sexual desires. Through this movie’s witty dialogue and sassy performances, this wry yet endearing teen comedy highlights the value of remaining true to oneself, and that a woman's sexual choices are nobody's business but her own. THE WAY WAY BACK (2013) A lot of coming-of-age stories tend to be more heartbreaking or dramatic, but this movie is just so lighthearted, which is what I appreciate most about it. This easy, breezy movie may be formulaic at times, but it’s charming as hell. At least once in our lives, we’ve all felt insecure or self-conscious, so when watching this movie, many can see themselves in the lead character. The story goes on a journey from insecurity to self-assuredness, and it serves as an inspiring reminder that, no matter the age, we can all find our way through this crazy thing called life. Ultimately, The Way Way Back is a touching and relatable film that reminds us all of the power of self-acceptance and the importance of genuine connections with others. HUNT FOR THE WILDERPEOPLE (2016) Hunt for the Wilderpeople is one of those charmingly offbeat gems that provides a glimpse into the value of family. This underappreciated gem by Taika Waititi is not only hilarious, but it has a lot of heart. The film truly embodies the idea that family is not just about blood relations, but about the bonds we choose to form with people. At some point in our lives, we’ve all been a bit of a pain in the ass, but deep down most of us mean well. We just need some guidance, support, and love to get us there, which is demonstrated in this film beautifully. After all, one of the character’s mottos is "no child left behind," reminding you to give others a chance (while giving this flick a watch, I hope). THE PEANUT BUTTER FALCON (2019) The Peanut Butter Falcon 's plot conveys an inspiring message about following your heart and not letting others limit you, and its principal performers give outstanding, free-spirited performances. What makes the movie so delightful is the odyssey-like journey its protagonists take and the touching moments they spend together, reminiscent of Mark Twain’s Adventures of Huckleberry Finn . In addition to themes of hope, kindness, optimism, and redemption, it offers a feeling of found family. The Peanut Butter Falcon should be on your radar if you're searching for a movie that will leave you smiling and full of good vibes. MARCEL THE SHELL WITH SHOES ON (2021) Many probably wouldn’t think a talking shell that was once an internet sensation could be adapted into such a genuinely heartfelt film, but director Dean Fleischer Camp managed to pull it off. You’d be surprised how much joy this story can bring you. It’s a compassionate tale that deals with loss, hope, and reconciliation in a sensitive yet profound way. Marcel's (Jenny Slate) story inspires us to embrace all stages of life with an open heart and mind. All in all, this whimsical stop-motion mockumentary is a poignant reminder that we are capable of healing and coming out the other side through a tragedy, especially when we stay on the hunt for ways to heal and build resilience.

THE WHEEL OF TIME: SEASON ONE Starring: Rosamund Pike, Daniel Henney, Zoë Robins, Madeleine Madden, Josha Stradowski, Marcus Rutherford, Barney Harris, Kate Fleetwood, Priyanka Bose, Hammed Animashaun, Sophie Okonedo, and Kae Alexander Creator: Rafe Judkins QUENTIN Another day, another network trying to recapture that Games of Thrones magic. Whether it’s the “been there-done that” feeling following so many fantasy shows in recent years or that Wheel of Time simply isn’t very good, I’d lean towards the latter. It’s a lot of dense exposition being spouted by a myriad of characters so thinly drawn and lacking in charisma that I honestly can’t remember their names. I never felt invested in any of it. Maybe those who read the books, which I haven’t, will get more out of it. The cinematography (but not the CGI) was pretty, though.

Previous Next Summer is here so we're bringing you a two-part series of the greatest Summer Blockbusters of all time. First up, we look at the best the 20th Century has to offer as the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Summer Blockbusters of the 20th Century. Due to the scope of this list, we narrowed it down to films that were released within the summer window and were a top five box office draw in their year of release. Each writer ranks their 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 EMPIRE STRIKES BACK If you know me, you know where my top vote went here (I wanted to give someone else a chance to talk about it). Second on my list, however, was The Empire Strikes Back . Not only is this film a timeless classic, but it's also the best film in one of the most successful franchises of all time. The influence of Empire is still seen across genres in the present day, while the twist of Luke Skywalker's (Mark Hamill) parentage continues to be one of the greatest in cinematic history. Not to mention, this is also where we were first introduced to Frank Oz's Yoda. In a franchise coming up on 50 years of content, this still remains the gold standard of Star Wars. - Nick 4. JURASSIC PARK Considering I just walked out of the latest installment of this franchise and how far it has flown from the original, it has not been lost on me recently how absolutely massive Jurassic Park was when it was released, and how amazingly well it still holds up today. First and foremost, the special effects look better than half of the movies that are released now. Secondly, nobody generates entertainment, propulsion, tension, and wonder quite like the king of blockbusters Steven Spielberg. Lastly (though honestly this list could be 10 points long), there might not be a more lovable trio of protagonists than that of Alan Grant (Sam Neill), Ellie Sadler (Laura Dern), and Ian Malcolm (the ever-lovable Jeff Goldblum). I don’t care what place we may officially have this on our list; it’s hard to argue that Jurassic Park isn’t the greatest summer blockbuster of all time. - Amarú 3. RAIDERS OF THE LOST ARK The fact that there are three Steven Spielberg-directed films on this list is a testament to how he not only created the summer blockbuster, but defined it over the course of decades. Before the aforementioned Jurassic Park , 1981’s Raiders of the Lost Ark was another stone-cold classic in his filmography, as he teamed up with old friend George Lucas (a summer blockbuster pioneer himself with Star Wars ). Raiders features all the action, romance, humour, mythology, practical effects, breakneck pacing, and exotic landscapes that came with the 1930s and 1940s pulp adventure serials that made up their childhoods. It’s a fantastic showcase for all involved, and it’s no wonder that it became the highest-grossing film of that year, further catapulting the careers of Spielberg, Lucas, and Harrison Ford, whose iconic turn as Indiana Jones would solidify him as a movie star in the process. - Bode 2. JAWS Of course Jaws is on the top of my list. Whilst there were successful event films before its release, the unprecedented success of Jaws redefined the cinematic landscape and realised the potential of blockbuster cinema. The studio initially viewed it as a B-movie with a turbulent production, but after it proved a success with audiences, they marketed and promoted it like nothing else before, resulting in extraordinary audience turnouts in the summer of its release and, subsequently, massive profits. Jaws launched Steven Spielberg’s career, and even 50 years later, its impact is inescapable. From the instantly recognisable theme composed by John Williams (da dum.. da dum..) to its famous lines of dialogue (“you’re gonna need a bigger boat!”), everything about Jaws is iconic in some way. - Katie 1. BACK TO THE FUTURE When we look at Top Five lists, Back to the Future , when eligible, is usually featured prominently, especially for me. The reason for that is pretty self-explanatory: it is the perfect movie. Even if you find the premise strange, it tells a tight story with awesome characters, an iconic score, and stunning special effects. It has spawned two sequels, an animated series, video games, a theme park ride, and a hit Broadway musical. Fans come out in droves to conventions when BTTF actors are set to appear. It is a film that has resonated with audiences for forty years, and it will likely continue for at least eighty-eight more. - Robert HONORABLE MENTIONS INDIANA JONES AND THE LAST CRUSADE THE LION KING TERMINATOR 2: JUDGMENT DAY ALIEN WHO FRAMED ROGER RABBIT