Previous Next December 1, 2022 WRITTEN BY: JACOB The mission of Bitesize Breakdown is to address a variety of perspectives for every movie we cover, hence the notion that no singular film will ever be covered by fewer than two writers (we, of course, have alternate rules for television). With that in mind, there are some instances – such as in our coverage of film festivals like TIFF and NYFF – wherein our viewing experiences do not overlap. While several of our writers may attend higher profile showings, such as those for Glass Onion: A Knives Out Mystery or Noah Baumbach’s White Noise , we also strive to break off during these events to discover more obscure works individually. Reviews for the aforementioned larger titles (and many others) are forthcoming as their official release dates move closer, but since some release dates have not yet been set or made known, we offer a singular perspective on the following films. CORSAGE Starring: Vicky Krieps, Colin Morgan, Finnegan Oldfield, Jeanne Werner, Alma Hasun, Katharina Lorenz, and Ivana Stojkovic Director: Marie Kreutzer An unexpectedly funny opener to the NYFF press week, Corsage is a well-helmed film with another magnetic performance by the great Vicky Krieps, even if the film itself doesn’t fully live up to its potential. It certainly looks beautiful, but not everything in the frame seems to land as it was likely intended to. Some of its more dramatic moments ring more hollow than they should, while the occasional joke fails to land properly (although most of them work overall). As Austria’s official submission to the Best International Feature race, it’s got a pretty damn good shot at landing a nomination. ONE FINE MORNING Starring: Léa Seydoux, Pascal Greggory, Melvil Poupaud, Nicole Garcia, Camille Leban Martins, Sarah Le Picard, Pierre Meunier, and Fejria Deliba Director: Mia Hansen-Løve One Fine Morning finds itself split between two main narratives: one being an extramarital affair of its lead character, and the other a slow decay of her renowned father as he succumbs to Parkinson’s. The latter of the two is definitely the stronger one, carrying most of the film’s emotional heft and offering Léa Seydoux her best moments in a stellar lead performance; however, it doesn’t quite tie together with the other storyline. Neither feels truly whole, rendering their mutual inclusions unjustifiable. That said, if you enjoy international cinema of the slice-of-life variety, this one works well enough in other ways. SAINT OMER Starring: Kayije Kagame, Guslagie Malanga, Valérie Dréville, Ege Güner, Atillahan Karagedik, Mustili, Aurélia Petit, Faith Sahin, Salih Sigirci, and Lionel Top Director: Alice Diop Alice Diop’s fiction debut, Saint Omer , is a difficult film to unpack right from the outset. Both structurally and thematically, it is decidedly non-traditional. How does one tell the story of an infanticide in a nuanced fashion, and is it even ethical or responsible to do so? Diop’s film grapples with these questions as much as it wrestles with all the socio-economic circumstances that influenced its origin, for good or ill. Whether or not the mostly conversational courtroom settings will resonate with audiences or drive them away is anyone’s guess, but one thing is for sure: they will not soon forget it. STONEWALLING Starring: Honggui Yao Directors: Ji Huang and Ryûji Otsuka Stonewalling means well, but stumbles right out of the gate and never quite recovers. The drama from directors Ji Huang and Ryûji Otsuka is clearly meant to be a high-stakes venture, but given how long things take to happen, the film feels about as low-stakes as it can be. Its protagonist is thinly-drawn, and the surrounding characters don’t really seem to have been drawn at all, acting more as placeholders for plot developments than people. At two-and-a-half hours, the film is far too long, and by the film’s end, whatever point it is trying to make is lost amongst the wasted time. UNREST Starring: Valentin Merz, Alexei Evstratov, Clara Gostynski, Li Tavor, Monika Stalder, Laurent Ferrero, Laurence Bretignier, Mayo Irion, Nikolai Bosshardt, Hélio Thiémard, and Daniel Stähli Director: Cyril Schäublin It takes a little while into Unrest to click into what it’s doing in terms of time and spatial geography, but this tale of anarchism slowly enveloping a small European town until it has taken over does eventually come together. Its most interesting element is the cinematography, which can feel odd, but soon reveals itself to be telling its own story through the way things are carefully placed. Even without a singular protagonist to follow, and being driven by theme rather than story, Cyril Schäublin’s NYFF entry is likely to be one of the most underrated films at the festival. SCARLET Starring: Raphaël Thiéry, Juliette Jouan, Noémie Lvovsky, Louis Garrel, Yolande Moreau, François Négret, Ernst Umhauer, Inès Es Sarhir, Antonin Stahly, Athénaïs Sifaoui-Blanc, and Bernard Blancan Director: Pietro Marcello While Pietro Marcello’s Martin Eden may be his better work, Scarlet is a more-than-worthy follow-up effort. Raphaël Thiéry’s performance is one of the year’s best, a softly rendered gentleness hiding behind his giant eyes, while Juliette Jouan (the spitting image of Alicia Vikander and Natalia Dyer) leads the second half with poise. Noémie Lvovsky charms in a supporting role, while the film’s music and sound back them all up by being excellent as they can be. The film’s halfway point does throw the viewer off as it shifts perspectives, but not so far that one can’t appreciate the ride. NO BEARS Starring: Naser Hashemi, Reza Heydari, Mina Kavani, Bülent Keser, Mina Khosrovani, Vahid Mobasheri, Jafar Pahani, Bakhtiyar Panjeei, and Sinan Yusufoglu Director: Jafar Panahi No Bears has one of the most impressive beginnings of any movie released in 2022, but following act one, it devolves into something decidedly more average than what those opening minutes promised. The film isn’t exactly bad as is, but its repetitive storytelling and largely ambiguous ending drag down some of its better moments, including a few top-notch jokes and solid performances. To be fair, it does feel somewhat incomplete, and knowing the director is currently in prison does shed a different light on proceedings, but even then, it’s not quite as strong of a film as it could be. ALCARRÀS Starring: Jordi Pujol Dolcet, Ainet Jounou, Xènia Roset, Anna Otin, Albert Bosch, Josep Abad, Montse Oró, Carles Cabós, Joel Rovira, Isaac Rovira, Carles Cabós, Antonia Castells, Djibril Casse, and Jacob Diarte Director: Carla Simón Alcarràs runs about 30 minutes too long, but gorgeous photography and excellent color grading does put it a cut above most other international films of its kind. A terrific ensemble cast buoys Carla Simón’s tale of industrialization closing in around small businesses, even as the story itself becomes somewhat repetitive. It’s a shame the actual story of the film doesn’t seem to know what point it’s trying to make narratively as much as thematically, but the film’s final image remains a real knock-out. It’s far from astounding, but this movie will likely work for most world cinema fans. ENYS MEN Starring: Mary Woodvine, John Woodvine, Edward Rowe, Callum Mitchell, and Joe Gray Director: Mark Jenkin Echoing films such as The Lighthouse via David Lynch-like directorial sensibilities, Enys Men ’s abstractness is the thing that both helps and hurts it the most. In one sense, that abstractness detracts from clarity for the audience, making its 90-minute runtime a test of patience as much as interpretation. On the other hand, Mary Woodvine’s internal performance and the film’s overall look and sound are tremendously well-rounded; aesthetically, the film emulates 1970s expressionism almost perfectly. Unfortunately, it’s not quite enough to keep the film on the minds of viewers, and it certainly isn’t likely to produce any return customers once completed. EO Starring: Sandra Drzymalska, Isabelle Huppert, Lorenzo Zurzolo, Mateusz Kosciukiewicz, Thomasz Organek, Lolita Chammah, Agata Sasinowska, Anna Rokita, Michal Przybyslawski, and Gloria Iradukunda Director: Jerzy Skolimowski Although imperfect, one would be hard-pressed to not find something to like in Jerzy Skolimowski’s EO . An often gorgeous film with a few indiscernible style choices and a second half that fails to stick the landing, at least its first half is pure visual storytelling. It’s tough not to care about animals in movies, but the way Skolimowski invites us into EO the Donkey's perspective with little more than some well-placed cuts and a few different camera angles is a remarkable feat for any film to pull off. It’s a shame the film doesn’t otherwise work. RETURN TO SEOUL Starring: Park Ji-Min, Oh Kwang-rok, Guka Han, Kim Sun-young, Yoann Zimmer, Louis-Do de Lencquesaing, and Hur Ouk-Sook Director: Davy Chou Park Ji-Min’s stellar, multi-layered performance as Freddie is the centerpiece holding director Davy Chou’s Return to Seoul to the fulfillment of its own promise. Without her, the film doesn’t feel as authentic or as affecting. Luckily, she’s good enough to carry it because the story itself – while interesting and poignant – doesn’t quite come together around her as well as it hopes to. As Freddie moves through no less than three time jumps, the audience must forego connection in favor of scope. That trade doesn’t entirely sink the film itself, but it does prove difficult, especially with supporting character attachments. PACIFICTION Starring: Benoît Magimel, Sergi López, Lluís Serrat, Pahoa Mahagafanau, Montse Triola, Marc Susini, Baptiste Pinteaux, Cécile Guilbert, Mike Landscape, Mareva Wong, Matahi Pambrun, Alexandre Mello, Michael Vautor, Laurent Brissonnaud, and Cyrus Arai Director: Albert Serra The ambition of Pacifiction cannot be understated as it attempts to thread a spy thriller through its largely lackluster narrative, which sacrifices audience interest for sounding smarter than it is. Perhaps it is better than I’ve insinuated, but its gorgeous looks can’t substitute for the confusion and exhaustion it offers. Like a mid-game chess board to a novice player, the film is so ahead of itself by the time the plot gets going that audiences aren’t likely to catch up to what’s happening before it moves on yet again. Structurally and narratively, it’s moderately messy. R.M.N. Starring: Marin Grigore, Judith State, Macrina Barladeanu, Orsolya Moldován, Rácz Endre, József Bíró, Ovidiu Crisan, Zoltán Deák, Cerasela Iosifescu, and Andrei Finti Director: Cristian Mungiu The way in which R.M.N. attempts to juggle two separate narratives at once does leave it a little distracted, forcing it to commit to neither story as much as it should to either. That said, it does have a decent bit to recommend, namely solid performances, great photography, and one of the year’s better movie endings. Unfortunately, all that good will can’t keep it afloat amongst its themes of sheep-like racism and bigotry, which may be as realistic as they can be given the film’s setting, but still feel a bit too bluntly handled for a movie format. TRENQUE LAUQUEN Starring: Elisa Carricajo, Verónica Llinás, Juliana Muras, Laura Paredes, Ezequiel Pierri, Cecilia Rainero, and Rafael Spregelburd Director: Laura Citarella There are few examples of films more exhausting to watch than Trenque Lauquen . Three hours and twenty minutes is far too long to tell a story that is only half essential after both parts are combined. That said, the essential half is pretty good, and a committed performance from Elisa Carricajo, as well as the intriguing mystery surrounding her whereabouts, is what makes most of it bearable. To direct something of this scope takes enormous skill, even if that scope is far too wide-ranging for the story being told. I admire Laura Citarella’s gumption, but I can’t call it inspired. ALL THAT BREATHES Starring: Salik Rehman, Mohammed Saud, and Nadeem Shehzad Director: Shaunak Sen All That Breathes is one of the finest shot movies of 2022, and one of its most rewarding documentaries. At first, it seems as though it’s simply an impressively done bird rescue doc, but it soon morphs into something on a larger scale with a more intimate story. Truthfully, it’s not so much about the bird rescue op as it is about the three brothers running it and how they manage to stick by each other in the face of the conflicts threatening their livelihoods. Director Shaunak Sen’s gamble in the structure of it pays off, and documentary fans will love it. DE HUMANI CORPORIS FABRICA Directors: Verena Paravel and Lucien Castaing-Taylor The human body is fascinating, and to that end, De Humani Corporis Fabrica certainly exhibits educational value. To witness in real-time the stresses that medical professionals deal with day to day on little-to-no sleep for long stretches of time is in itself a miracle, bound to enhance respect for those in the field. That said, the film’s unflinching showcase of reality may be its ultimate shortcoming. The ultra-graphic nature of watching full c-sections and genital surgeries may prove to be too much even for interested parties, and it seems as though that rawness is the film’s entire (and only) point. IS THAT BLACK ENOUGH FOR YOU?!? Starring: Margaret Avery, Harry Belafonte, Charles Burnett, Suzanne De Passe, Laurence Fishburne, Whoopi Goldberg, Samuel L. Jackson, Glynn Turman, Billy Dee Williams, and Zendaya Director: Elvis Mitchell Netflix’s Is That Black Enough for You?!? is by no means a waste of time, but it lacks the necessary structural tools to assert itself as essential documentary filmmaking. Apart from educating people about the history of Black cinema, especially in the 1970s, the film doesn’t do much to keep the audience engaged, nor does it say much of anything the audience doesn’t already know. The editing is fairly choppy as well, while the narration is too overbearing, occasionally challenging the viewer’s engagement. It’s not a condemnation, but this probably would have worked better for a network like the History Channel. DESCENDANT Director: Margaret Brown Perhaps Netflix’s strongest documentary feature yet, Descendant is an inspiring look into not only the search for the slave ship Clotilda (the last to dock in the U.S.), but the communities to which its discovery is most precious. Expertly directed by Margaret Brown, the film’s examination of generational recovery and communal reclamation across Black America is one of its many rich offerings, and every minute spent within this community offers new layers to unfurl. This is a surefire contender in the Best Documentary Feature Oscar race, and – if campaigned right – could yield Netflix their fourth win in just six years. Photo Credits: NYFF

QUANTUM LEAP: SEASON ONE Starring: Raymond Lee, Caitlin Bassett, Mason Alexander Park, Nanrisa Lee, and Ernie Hudson Creator: Donald P. Bellisario QUENTIN Given that OG Quantum Leap is my all-time favorite show, I had to give the rebootquel a chance, even as a person who generally turns his nose up to network television. Overall, it’s fine. It offers the same optimistic view of the world as the original, but I realized nostalgia is doing the heavy lifting on my love for the 90s version. While Raymond Lee and Caitlin Bassett are serviceable, they are no Scott Bakula and Dean Stockwell. The new series is more serialized and spends time diving into Project Quantum Leap lore, which is interesting, but not quite interesting enough that I’ll return next season.

SMOKE Starring: Taron Egerton, Jurnee Smollett, John Leguizamo, Rafe Spall, Greg Kinnear, Ntare Guma Mbaho Mwine, Hannah Emily Anderson, Anna Chlumsky, Adina Porter, Dakota Daulby, and Michael Buie Creator: Dennis Lehane QUENTIN As a fan of author and screenwriter Dennis Lehane — not to mention being a bit of a pyro — it brings no joy to say that Smoke is, at best, a middling series. The performances are solid enough, I suppose, but the story is far too sprawling. There are subplots, flashbacks, and fantasies meant to drive character development that mostly just take away from the main arson investigation, which, frankly, isn’t much of a mystery since you discover who the arsonists are pretty early on. It’s certainly watchable, especially if you like Lehane’s vibe, but this tale may have been better in book form.

ERIC Starring: Benedict Cumberbatch, Gaby Hoffman, Dan Fogler, McKinley Belcher III, Ivan Howe, Bamar Kane, Clarke Peters, and David Denman Creator: Abi Morgan NICK Eric touches on many themes: racism, sexuality, addiction, corruption, fatherhood, the homeless crisis, and more as its story builds. But it's too much. Had it reeled things in, it would have made for a more succinct story instead of the unnecessarily sprawling one we're given. Benedict Cumberbatch is fantastic, though. He gives an increasingly unhinged performance that is at its best whenever he’s interacting with the monster Eric. It’s a dynamic I wish we’d gotten more of, yet so much time is spent elsewhere that their moments together feel fleeting. There are things to like, but a more focused character study would have bumped my rating. QUENTIN Eric starts out in a way that roped me in immediately, from the 70s New York griminess to Benedict Cumberbatch’s terrific performance. However, a reveal in the fourth episode kinda kills the momentum. It essentially ends the driving mystery of the A-plot while the B-plot (not to mention random C- and D-plots), which is somewhat dependent on the aforementioned mystery, tries to keep going. It’s neutering, leading the final two episodes to fizzle out as it wraps up all the other less interesting storylines. Again, though….Cumberbatch is great, and at only six episodes, there is just enough to power through to the finish. PAIGE Eric has strong performances and it strikingly captures the streets of 1980s New York in true form, but it bites off more than it can chew. The series' main mystery frequently gets lost in the sea of ideas presented, leading the plot to be unsure of what it wants to be. The team behind Eric struggles to balance all the side stories they included in the mix, which eventually leads to the point where the narrative starts to wane, causing me to lose interest after the first few episodes. Character development and intrigue are lacking in this mystery drama series.

Previous Next With the upcoming releases of The Boston Strangler and Luther: The Fallen Sun, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Serial Killer Films/Series. 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. SCREAM Of course, the Scream franchise made this list. It’s a bloody fantastic slasher who’s central serial killer, Ghostface, is inspired by Danny Rolling, aka the Gainesville Ripper, a notorious Florida serial killer who murdered five students in 1990. While it’s loosely based on a real serial killer, it also has become such a cult classic due to its meta commentary and iconic hooded ghost mask that gives you goosebumps if you see it in person. - Paige 4. THE GIRL WITH THE DRAGON TATTOO As good of a job as director David Fincher and star Rooney Mara did with the 2011 remake, it was not their iteration of The Girl With The Dragon Tattoo that got me reading the Millennium book series. It was the original Swedish film of 2009. If you have not seen Noomi Rapace’s guttural portrayal of Lisbeth Salander, do yourself a favor and strap into a wild, dark, and intense mystery; then finish off the whole trilogy because, damn, did they do a great job capturing how dirty you should feel after watching serial killer films. - Amarú 3. THE SILENCE OF THE LAMBS Even beyond the Hannibal Lecter (Anthony Hopkins) of it all, The Silence of the Lambs is a brilliantly crafted horror thriller built on a riveting manhunt as Clarice Starling (Jodie Foster) chases down a thoroughly bone-chilling serial killer in Buffalo Bill (Ted Levine). The “night vision” finale remains one of the all-time great final set pieces in movie history, and the lead-up to the film’s stunning revelation of Bill’s motivations is as engaging and disturbing today as it was in 1991. There is a reason this film is counted as one of the greatest ever made, and as the only horror to ever win Best Picture, it more than deserves the title. - Jacob 2. ZODIAC Serial killers are more than just their crimes. They’re a phenomenon, and no film highlights this better than what is arguably director David Fincher’s best film, Zodiac . It’s hard to sum up how great this film is in just a handful of words because it’s nearly flawless. Everything from the performances to the way the murders are carried out on screen is an absolute masterclass in filmmaking. It’s a creepy, fascinating film that grips you from beginning to end while forcing you to feed into the main character’s obsession with the notorious killer. - Joseph 1. SEVEN Seven remains perhaps director David Fincher's best work to date. The unrelenting oppressiveness of the rain in the unnamed city, the grime of the alleyways, and the brutality of the murders all combine to create one of the bleakest and most dour films of the 1990s. At the heart of the movie is the chemistry between Mills and Somerset (Brad Pitt and Morgan Freeman, respectively), and the classic trope of hotshot newcomer paired with the weary veteran is given fresh life as Pitt and Freeman embody the roles of the dogged detectives. With one of the best third act reveals in cinema history, Seven remains the shining beacon of serial killer movies. - Darryl HONORABLE MENTIONS AMERICAN PSYCHO MINDHUNTER PSYCHO DEXTER TRUE DETECTIVE Photo Credits: Photo 1 - Dimension Films; Photo 2 - Nordisk Film; Photo 3 - Orion Pictures; Photo 4 - Paramount Pictures; Photo 5 - New Line Cinema

Previous January 19, 2026 Next A BITESIZE CHAT WITH WALKER SCOBELL, LEAH JEFFRIES, & ARYAN SIMHADRI Walker Scobell, Aryan Simhadri, and Leah Jeffries are here to talk about the upcoming Disney+ series Percy Jackson and the Olympians and the process of bringing Rick Riordan's iconic novel to the screen. Make sure to check out Percy Jackson and the Olympians on Disney+. Interview conducted on December 7th, 2023 by Nick van Dinther. Photo Credits: Walt Disney Studios

Previous Next May 5, 2025 Is Thunderbolts* something new or more of the same? Is the MCU back on track? What is the deal with that asterisk? These questions and more are answered as we take a bigger bite out of Thunderbolts* . This episode was filmed before the public name change 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!

MARY & GEORGE Starring: Julianne Moore, Nicholas Galitzine, Tony Curran, Laurie Davidson, Nicola Walker, Niamh Algar, Trine Dyrholm, Sean Gilder, Adrian Rawlins, Mark O’Halloran, and Joseph Mawle Creator: D.C. Moore QUENTIN For fans of period-piece castle intrigue mixed with salaciously horny bawdiness, Mary & George will certainly scratch that specific itch…and scratch it well. The production design is fantastic, and Julianne Moore gives a typically excellent performance. It’s just that… after The Favourite and The Great (among others), this sort of contemporary-tinged history lesson already feels a bit played out. Or maybe I’m just tired of the genre, especially as this one comes across as a tad tabloid-y. I can fully admit that it’s a very competently made show that maybe just isn’t for me.

AMERICAN RUST Starring: Jeff Daniels, Maura Tierney, David Alvarez, Bill Camp, Julia Mayorga, Alex Neustaedter, Mark Pellegrino, and Rob Yang Creator: Dan Futterman QUENTIN Like Mare of Easttown before it, American Rust is yet another show trying to show the plight of a blue-collar community in America’s rust belt through the framing device of a murder investigation being conducted by a gruff sheriff with regrets. Except this one is poorly written and overly bleak. The cast does what it can, but it seems the only direction tossed their way was "Your character is miserable." Furthermore, the investigation doesn't have an interesting enough hook to matter, and it's often ignored for subplots about unionization and learning how to be homeless. It's an all-around gloomy bore.

Previous Next The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Midyear Report. Each writer ranks his or her top 15 films or series 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 BATMAN The Batman not only excels in its technical aspects and as a kick-ass detective caper, it also succeeds in re-defining the character as a pop culture artifact. In thematically establishing vengeance as a force for infection rather than inspiration, director Matt Reeves reckons with who Batman is largely understood to be to the mainstream, and challenges his audience to look for something more in him than just a crime-fighting vigilante. - Jacob 4. STRANGER THINGS: SEASON FOUR - PART ONE The first part of Stranger Things ’ fourth season is possibly the series’ best (or, at the very least, darkest) entry yet. It’s scarier, sadder, and deeper than previous seasons, and showcases the cast’s talent to an even better degree than before. The show remains a cultural touchstone, and based on “Running Up That Hill”‘s nearly 40-years-later success, it’s safe to say Stranger Things has been one of the most impactful pieces of media released so far this year. - Joseph 3. CHA CHA REAL SMOOTH AppleTV+ could potentially have another Best Picture nominee on their hands with Cha Cha Real Smooth , one of the year’s biggest surprises. It’s a delightful coming-of-age dramedy that is charming, heartwarming, and grounded from start to finish. Anyone can relate to this film, which is what makes it so special. It has a great ensemble, featuring Dakota Johnson, Leslie Mann, and newcomer Vanessa Burghardt, while director/writer/star Cooper Raiff is forging an exciting path as a filmmaker to keep an eye on. - Paige 2. TOP GUN: MAVERICK If you want to know just how good Top Gun: Maverick is, consider this: it’s Tom Cruise’s first movie to open at over $100 million and his first movie to cross the billion dollar threshold. For an actor generally regarded as the last true Movie Star, that is remarkable. And with the completely earned sequel story, thrilling aerial stunts, and heartfelt emotional beats, it shouldn’t be too surprising that it also is one of the best movies of the year. - Quentin 1. EVERYTHING EVERYWHERE ALL AT ONCE Everything Everywhere All at Once is the best movie of the year, plain and simple. It’s a singular story with singular characters portrayed by singular actors. For a multiverse movie, that is a feat beyond anything you’ve ever experienced. Oscar nominations are a given, in every category, and it could easily win them all. - Amarú HONORABLE MENTIONS PEACEMAKER: SEASON ONE MARCEL THE SHELL WITH SHOES ON SEVERANCE: SEASON ONE HUSTLE THE NORTHMAN Photo Credits: Photo 1 - Warner Bros; Photo 2 - Netflix; Photo 3 - Apple TV+; Photo 4 - Paramount Pictures; Photo 5 - A24

MS. MARVEL Starring: Iman Vellani, Matt Lintz, Yasmeen Fletcher, Zenobia Shroff, Mohan Kapur, Saagar Shaikh, Laurel Marsden, Rish Shah, Nimra Bucha, Samina Ahmad, Farhan Akhtar, Aramis Knight, Arian Moayed, and Alysia Reiner Creator: Bisha K. Ali JACOB Though it does make some questionable choices as far as the pacing of certain episodes and a few underdeveloped supporting characters, Ms. Marvel is the first MCU project in a while that truly matches the essence of its protagonist. Pakistani culture mixes with Gen Z American energy to create a uniquely youthful fusion of what a kid superhero post-Endgame might actually look like, and Iman Vellani is more than up to the task. Admittedly, the more it attempts to expand into the wider MCU, the less it works, but even then, the more intimate storytelling is enough to hold it together. AMARÚ Ms. Marvel is joyful, heartfelt, and charming. It demonstrates how Phase 4’s diverse storytelling, when done right, is full of depth. The intricate care it takes in introducing Kamala Khan (the effervescent Iman Vellani), her infectious family, and the rich history of Pakistani culture is top notch. While the action can be slightly underwhelming and Disney+’s rushed 6-episode structure highlights the lackluster antagonists’ inconsistent development, each episode focuses on establishing Kamala (not Ms. Marvel) as a three-dimensional character with a resonant story. The emphasis on story over superhero makes Ms. Marvel my favorite MCU show to date. Plus… The soundtrack. IS. FIYAH!!!!! QUENTIN I’ve had several debates about whether Ms. Marvel is “not good” or “not for 41-year-old Q.” I’ll let you decide that for yourselves, but I’ll tell you this: I did not enjoy it one bit. It’s full of teenage cringe, subpar CGI, Bollywood-style camp, and characters (and story) that I couldn’t care less about. Plus, the tone is more aligned with Lizzie McGuire and Hannah Montana than the MCU. It’s the first time I’ve ever been held hostage by the MCU’s shared universe because I basically felt forced to hate-watch the series since Kamala Khan (Iman Vellani) is a main character in 2023’s The Marvels . ADRIANO The MCU shows range from “pretty great” to “I forgot about Hawkeye ,” but thankfully, Ms. Marvel stands out as maybe the best one yet. This show sucked me in instantly with its style and vibe. Iman Vellani gives the most lovable performance, which makes it so easy to root for her, and I specifically love how much the show focuses on her . It doesn’t feel like it’s just one big Phase 4 set up. This is her story, about how what’s happening affects her and her loved ones. I couldn’t have asked for anything more.

WAYWARD Starring: Mae Martin, Toni Collette, Sarah Gadon, Sidney Topliffe, Alyvia Alyn Lind, John Daniel, Tattiawna Jones, Brandon Jay McLaren, Joshua Close, and Patrick J. Adams Creator: Mae Martin NICK Netflix’s latest limited series Wayward is a spirited effort from comedian Mae Martin. Martin has their hands all over this as star, writer, showrunner, and producer, and they’ve done enough here to welcome more work in this genre. While I loved this series in the early going, it couldn’t maintain that momentum as it went along; despite a devilishly good Toni Collette. The story began to spin its wheels a little, the reveals didn't land as they should, and it didn’t quite stick the landing. I still enjoyed the series and think it was quite well done; just a couple creative decisions held things back. PAIGE Wayward attempts to be this generation's Twin Peaks , but fumbles its premise miserably. Weak writing, subpar performances, and choppy editing kill the tone. Not even the great Toni Collette, who tries her best to carry it on her shoulders, can get it across the finish line as a somewhat satisfying season of television. This stale show presents no real consequences for its characters' actions and merely dips its toes into its intended themes. It’s got the right ideas, but doesn’t know how to use them to make a compelling experience. BODE I wouldn’t have anticipated that Mae Martin’s scripted follow-up to Feel Good would be a very Canadian answer to Twin Peaks . But credit where it’s due, Wayward shows they have the chops to pull this mystery off. Though it occasionally stumbles, the show mostly does a good job building layers upon its plot – getting progressively surreal, but also surprisingly thoughtful with each episode. It helps that it has memorable performances, especially from Alyvia Alyn Lind and Sydney Topliffe. It’s enjoyable all-around, and though this was green-lit as a limited series, I wouldn’t be opposed to another season.