Previous Next September 23, 2024 WRITTEN BY: ADRIANO After last year's somewhat sluggish lineup (likely due to the SAG-AFTRA and WGA strikes), I can confidently say that this year's Toronto International Film Festival (TIFF) was back in full swing with one of the strongest lineups in some time. So much so that even at 50 films, ranging from the Gala program to the Platform program to the Midnight Madness program, I still missed out on some films I wanted to check out, including Andrea Arnold's Bird , Carlos Marqués-Marcet's They Will Be Dust , and even Francis Ford Coppola's Megalopolis . However, despite those misses, TIFF is, once again, the highlight of my year, and the past three years of covering the festival have been an absolute privilege. So, without further ado, here are all 50 movies that I saw at TIFF, ranked: Also, in case you missed it, check out how Nick ranked the 40 movies he saw at the festival HERE . 50. PIECE BY PIECE Piece By Piece is baffling. The equivalent of a feature-length troll, this movie lacks any semblance of sincerity towards Pharrell's story, and it tries to disguise that with a questionable LEGO filter. Piece does nothing to change our perception of Pharrell, and it’s more interested in being a fluff piece with comically little about his family life or any humiliating conflict, not to mention a final ten minutes that just made me go, "No, they are not doing this!" If there is something more to Pharrell's story, this movie does a poor job showing that, and for a movie that preaches imagination, this had none. 49. ON SWIFT HORSES I couldn't have left the theatre faster once On Swift Horses ended. A truly dreadful experience, it may bring up some interesting ideas on sexuality and impulse, but it winds up being dull and shallow, evaporating any intrigue it ever presented. The cast is... decent. Jacob Elordi is clearly the best-in-show, but it gets so lost in itself and so visually ugly that I struggled to fully grasp what the central point of everything was. Some moments felt like they existed only to amp up the drama, but it ended up making me feel nothing. 48. PEDRO PÁRAMO Man, I was really rooting for Rodrigo Prieto. In his directorial debut, the legendary cinematographer shows nothing but absolute incompetency with Pedro Páramo , with everything looking poorly lit with plenty of weak backdrops. Worst of all, though, it is way too quickly into the movie’s sloppy structure and confused narrative when I was just completely out of it. It lost me so hard that, around the 40-minute mark, I fully gave up on trying to piece together what I was supposed to take away from this, which made the rest of the film pretty nauseating to sit through. 47. RUMOURS I'll always respect a swing for the fences, but you gotta have something to back those swings up. Rumours doesn't have that. I liked the ensemble, and it got some laughs out of me, but it pretty quickly falls off its central concept. Then, the laughter begins to trickle out, and the movie becomes utter nonsense. Its commentary on world leaders' incompetency is lazy, and for a movie with three directors, one of which is the seasoned Guy Maddin, it feels a lot like a student film. Rumours is just a really bad movie, plain and simple. 46. THE DEB At the beginning of The Deb , Rebel Wilson shows some heavy promise as a director through an excellent musical number. It all goes downhill from there. From then on out, the music is somewhat catchy, but the numbers are bland; the humour is incredibly obvious; it looks really ugly; and its commentary on Gen-Z is as shallow as the people it's trying to mock. I have no real issues with the ensemble, and the film itself has a sincere message, but overall, I thought a lot of this movie was rough. 45. OH, CANADA Thank God, Oh, Canada is short because I struggled through this one. Richard Gere and Jacob Elordi are great, but writer/director Paul Schrader's meditation on life and taking into account one's regrets winds up being self-indulgent to the point where the film's thesis gets lost. Schrader’s approach is just too all over the place to even respect the ambition. Not every directorial and writing decision is awful, but the vast majority are a huge miss. On top of that, the ending is laughably bad. Granted, I haven't loved late-stage Schrader, but this is my least favourite from him. 44. K-POPS! From an objective standpoint, K-Pops is horrible. The direction from Anderson.Paak is supremely flat with pacing that doesn't even exist, while the writing is a minefield of cliché, toothless commentary on pop culture, unfunny jokes, and unjustifiably half-assed story beats. And yet, despite all that, I kinda fell for it. Again, awful movie, but Anderson.Paak is entertaining in front of the camera, making it endearing to watch. Shortcomings aside, it's clearly made with no cynicism; it's just that Anderson.Paak is bad at making movies. Still, I didn't hate watching it. 43. PAYING FOR IT Paying For It hits the ground running quickly with an interesting concept that very quickly shows that director/co-writer Sook-Yin Lee didn't have that much on her mind. It could've been an interesting look at polyamorous relationships, but it's just the two main characters sleeping with other people for its whole runtime, never really evolving its thesis, content to just go in circles. There are a few laughs, and the two central performances are great, but when the movie ended, I didn’t feel like I went through anything interesting. A very repetitive movie that falls flat in too many ways. 42. SEEDS Seeds is very messy. The movie attempts to comment on the preservation of reservation communities, but, instead, it winds up being as shallow as the Gen-Z archetypes the film is trying to satirize. The movie also can't pick a tone to save its life. I'm not saying I never had fun, but the movie never commits to the horror aspects while a lot of the comedy falls flat. On top of that, a lot of the flashy concepts are underdeveloped to the point of just being nonsense. The ending does leave the film on a high note, but it's an overall mess. 41. THE ROOM NEXT DOOR It's with a heavy heart that I say The Room Next Door is pretty bad. Granted, it’s not the worst thing in the world, as I thought Julianne Moore and especially Tilda Swinton were great. I also can tell writer/director Pedro Almodóvar's intentions were pure in his approach to morality and accepting death. But, my God, the script is quite terrible. Beyond the Tommy Wiseau-esque dialogue, the movie starts with random non-sequiturs that add to nothing. I didn't buy the central bond, either, and the plot's progressions feel so forced. I love Almodóvar, but this is not it. 40. BETTER MAN My expectations for Better Man were really low, given that director/co-writer Michael Gracey's last film, The Greatest Showman , is one of my least favourite movies ever. So in that regard, I suppose Better Man surpassed my expectations. The CGI monkey looks amazing, and I do admire how unsanitized the approach to Robbie Williams’ life is. That said, while the movie tries throwing some flashing lights and gimmicks at us, it doesn't change the fact that it follows an uninteresting and basic biopic format. It certainly wasn't as bad as I feared, but I'll never see it again. - 39. UNSTOPPABLE Unstoppable is the same sports biopic you've seen before. I do appreciate how the movie skipped any pity for the protagonist, and I'm once again really impressed with Jharrel Jerome's range. However, it's an obvious movie that begins and ends how you expect it to. That's not to say ineffective, but it's lazy. I don't understand why filmmakers feel the need to go down this path constantly when approaching these types of stories. Also, despite great turns from Jennifer Lopez and Bobby Cannavale, the domestic storyline is really bad. Audiences will fall for Unstoppable , I'm sure. I did not. 38. ICK For the first half of Ick , I was having a ball because I was really into the maximalism of it all. I laughed along with it, I dug the 2000s needle drops, and when the central action first kicked in, it was gross and fun to watch. Then the second half happens, which just isn’t as fun. It gets way too messy, throws in some random COVID-19 metaphors out of left field, and a lot of the jokes and forced heart fall flat. It gets too into itself, and doesn’t have much else to say, sadly. 37. NIGHTBITCH Nightbitch is an interesting movie for many reasons. No matter where you stand on the film itself, it's hard to deny that Amy Adams gives a great and committed performance. However, Nightbitch is a story of two movies. One of them is a grounded and effective domestic story with realistic disputes and challenges, which I've always found writer/director Marielle Heller best at. The second is absurdist, which really brings the total product down. A lot of it felt random without bringing much to the table. It’s just sloppily thought out. I'm in the middle on Nightbitch , leaning slightly towards negative. 36. THE LAST SHOWGIRL The Last Showgirl just misses the mark for me. The performances are one of the obvious reasons you watch this movie, and they deliver. Pamela Anderson does something unlike anything you've ever seen from her, while Dave Bautista continues to show his range in a silent, nuanced role. Kiernan Shipka and Jamie Lee Curtis also are excellent. And admittedly, the movie is well shot and well paced, too; however, its story of re-discovering your purpose in the world felt pretty underdeveloped. It’s too rushed for its own good, ending up being ineffective. It might resonate with some, but I wanted more. 35. THE PIANO LESSON The Piano Lesson sports an incredible ensemble of actors giving it their all, especially Danielle Deadwyler, who carries the movie every time she's on screen. Sadly, that ensemble is the film's brightest spot because, overall, I found the film to be pretty messy. It isn't awful, and unlike previous August Wilson adaptations ( Fences and Ma Rainey's Black Bottom ), director Malcolm Washington gives this more liveliness than a stagey feel. However, its themes of legacy and family are so lost in the film's many subplots that once the film reached its resolution, I didn't feel anything. 34. THE END I was hoping that Joshua Oppenheimer, a director whose documentaries have an incredibly cinematic vision, would bring that same vision to feature films. I'm sad to say, though, that his feature debut, The End , is disappointing. That's not to say it's all bad. The ensemble is excellent, the music can be catchy in the moment, and its ideas and execution of its concept are very interesting. That said, as someone who can handle a cold slow burn, this one's distance is not engaging, and it makes the themes of powerful people coping with their actions lacking in long-lasting effect. 33. PRESENCE There is a lot of fun to be had with Presence despite its many obvious shortcomings. I thought the POV gimmick might quickly become annoying, but it wound up being surprisingly effective. That said, the horror is just a weak backdrop to a poorly written family drama with M. Night-level dialogue that only Chris Sullivan is able to make sound believable. As the movie reaches its conclusion, the established rules start to make less and less sense. It genuinely made me wanna scream "WHAT?!" But... I kind of enjoyed that, despite it being utter nonsense. 32. THE LUCKIEST MAN IN AMERICA The Luckiest Man in America is probably the best version of what a movie adaptation of this story could look like. The story of Michael Larson (Paul Walter Hauser) isn't anything that grand, and I kinda thought the movie's attempts to make him out to be some folk hero were a little misguided; however, I still had fun. Hauser gives yet another great, ego-less performance that's easy to root for, and I enjoyed the kinetic editing. The writing is serviceable enough too, with some effective laughs and heart thrown in there. The overall experience was pleasant but forgettable. 31. ON BECOMING A GUINEA FOWL On paper, On Becoming a Guinea Fowl could have been one of the year's most talked about films, but something was lost in the execution. Well acted across the board, Rungano Nyoni wrote and directed this film with a very unique lens, leaning heavily into absurdism in its approach to toxic familial relations and the dark secrets that lurk underneath. That said, a lot of the absurdism winds up being less poignant and more confusing, resulting in a film that winds up being kinda messy and unclear on exactly what it wants to say. I respect the swings, but this was mostly a miss. 30. KILL THE JOCKEY Kill the Jockey has a whole lot of character to its presentation but falls flat when it comes to its actual characters. I do admire director/co-writer Luis Ortega's ambitions, and I believe the central conceit of "killing your past self so your true self can be born" may resonate with some given the queer storyline. However, I felt nothing for the characters as it became very clear early on that Ortega was more interested in how the story was told and not in the story itself. I wish we could've gotten the more realized version of what was intended. 29. JANE AUSTEN WRECKED MY LIFE There is absolutely nothing mind-blowing in Jane Austen Wrecked My Life , but there's also very little to dislike. It's a sweet and innocent film, with sincere intentions in its approach to desire, some laughs, some nice scenery, and a great lead performance from Camille Rutherford. Plot-wise, once it gets going, it's pretty obvious where it's gonna land, and nothing really happens to dispel any predictable outcome I thought would happen. Nonetheless, Jane Austen Wrecked My Life is a nice palette cleanser and an easy watch, even if it's just a one-timer. 28. EDEN As low a bar as it may be, Eden is director Ron Howard's best effort in a while. It's visually very bland, and it starts off pretty thin and uninteresting. However, once Ana de Armas kicks down the door with her new energy and show-stealing performance, the movie kicks into a much different gear. While still not excellent, the movie becomes an eye-opening rush of adrenaline that keeps upping the ante with its thrilling exploration of human nature and how ugly it can be when ego takes over. I wasn't expecting to be into it, yet I was. 27. EMILIA PÉREZ While there are a handful of misfires in Emilia Pérez , I still really admire the ambitions. In the back half, the movie gets really messy as they introduce a little too much and the genre anarchy becomes more of a headache than fun. Overall, though, I was into the insanity that writer/director Jacques Audiard introduced. Not all of the music hits, but I enjoyed the musical numbers themselves, and I thought Karla Sodia Gascón and Zoe Saldaña were amazing. Whenever the movie is centred and focused, I was thoroughly engaged enough to say I really enjoyed Emilia Pérez . 26. THE WILD ROBOT The Wild Robot is... it’s solid. The animation is stunning to look at, the score by Kris Bowers is fantastic, it's got a good heart, and its themes of community are genuinely effective. A lot of the movie works, but the overall story is very generic and not that different from other Dreamworks movies. I even found some plot threads to be pretty rushed - for instance, the motherhood storyline - while endearing, I think it’s a little underdeveloped for me to fully feel what it wants me to feel. The Wild Robot is inoffensive and really good even, just nothing special. 25. SUPERBOYS OF MALEGAON There's a lot to like in Superboys of Malegaon , even when it's at its simplest. At over two hours, the movie stretches its basic concept way too wide, and it isn't until the final 30 minutes or so that the movie gets interesting. However, that last bit does successfully salvage the movie for the most part. As uninspired as the movie is, I found myself rooting for its protagonist, laughing alongside, and feeling the beating heart of the film, so it's hard for me to say I didn't enjoy it. 24. YOUNG WERTHER Young Werther begins pretty basic. The direction is flat and the plot progresses in a fairly familiar way to most rom-coms, only this time with an unlikeable lead. But then, the movie shifts its tone to become more mature. The performances of Douglas Booth and Alison Pill kick up a notch too. I began to appreciate it for its honest and often funny portrayal of modern romance, leaning into the flaws and insecurities of its characters as it approached a satisfying third act. I didn't expect to relate to this film in the way I did. 23. FLOW Flow is simply adorable, but I kind of wanted a little more. The animation is cute, with some beautifully grand visuals occasionally, and its concept is simple enough, featuring a band of animals trying to survive a flood. Plus, at just under 90 minutes, it never overstays its welcome and I did thankfully find myself constantly drawn towards the increasing action of the plot. However, the climate change themes are overshadowed by the "friends along the way" narrative. That all said, with no dialogue at all, Flow wound up being a very endearing watch. 22. WE LIVE IN TIME It's entirely possible that timing with personal things that happened in my life recently played a part, but I fell for We Live in Time . I recognize its shortcomings, namely that it's predictable and the film's non-linear storytelling doesn't add anything. That said, director John Crowley and writer Nick Payne seem to have had sincere intentions in making this, as the movie isn't overly sappy. It’s never trying to get tears, and is much funnier than you'd think. Plus, Andrew Garfield and Florence Pugh's chemistry and charm add a lot, making this a lovely film, warts and all. 21. THE FIRE INSIDE I didn't think I'd dig The Fire Inside , but I did. In her debut, Rachel Morrison shows she has a great directorial eye, as the film is excellently shot, especially the fantastic and kinetic boxing sequences. Ryan Destiny and Brian Tyree Henry are both incredible, too. In the first half, while some beats were familiar, it felt more realized than your average Coach Carter ripoff; then the back half made me remember that this was written by Barry Jenkins. Its position shifts to become an engaging and interesting film. The Fire Inside isn't groundbreaking, but I was pleasantly surprised. 20. THE SEED OF THE SACRED FIG For the first two acts of The Seed of the Sacred Fig , the film is a fascinating examination of Iran's corrupt political climate, the way Iran treats women, the new generation's political ideology, and those who blindly worship the political leaders that they are forced to conform to. The use of a family drama chamber piece works wonders early on, even with its obvious symbolism. However, the third act sadly swaps tones to a cat-and-mouse thriller that is riveting on its own, but the points writer/director Mohammad Rasoulof seemingly wanted to make become lost. Still, I'd recommend this film as vital viewing. 19. HERETIC At its best, Heretic presents a wonderfully tense chamber piece with fascinating conversations about religion. Writer/directors Scott Beck and Bryan Woods show off their horror talents when, even in seemingly mundane conversations, something obviously sinister is under the surface. Sophie Thatcher and Chloe East are great, but it is Hugh Grant's deceptive politeness that blew me away. That said, when the movie gets into the back half, it gets a bit too silly. The conversations in the first half struck a good line between silly and intense, but when it leaned too hard into horror, I felt the impact lessen. 18. QUEER Queer is easily director Luca Guadagnino's most out-there film to date, which comes with some downfalls. The movie can be very slight for a lot of people, and some of the more experimental stuff will not be everyone's cup of tea; however, even though the film was close to losing me a couple of times, it never did. I was into Guadagnino's psychedelic and loose portrayal of desire and the dream-like atmosphere throughout, as well as Daniel Craig's outstanding lead performance. This is certainly not the director's best, but Queer is still another win for the filmmaker. 17. DEAD TALENTS SOCIETY Dead Talents Societ y is so much fun to watch. What could've been a cheap cult spoof on Beetlejuice turns into a little beast of its own, creating a hilarious, gory, and imaginative experience. The concept could have leaned into lazy jokes, yet it never does, and beyond the mayhem, there's a surprising amount of heart. The movie has a familiar but effective “found family” story that, even with the craziness and ultra-violence, has a touching throughline. Dead Talents Society is such an easy recommendation, and stay until the very end. Trust me. 16. CONCLAVE Conclave is so much goofier than you'd expect from a movie about religion, and I say that complimentary. Featuring a stirring performance from Ralph Fiennes, Conclave is sabotage, conspiracy, twists, and shock at almost every turn. All of it is natural, too, never for the sake of a cheap rug pull, but instead to elevate a high-stakes thriller that had me second guessing and feeling tense throughout. The ending could divide audiences, but I thought it was a perfect cap to a film about how religious institutions desperately need to evolve. A well-crafted thrill ride of a film. 15. BABYGIRL There is something interesting about Babygirl that I really love. It's a horny movie, for sure, but it's also very non-sensational. The eroticism is more in service of what writer/director Halina Reijn wants to say about untapped desire and power balance. Even in the movie's hottest moments, Babygirl is bound by a smart script that offers laughs and shock. With a great ensemble to back it up, I found myself glued to the screen, watching the mind games and dominance go down. If you come for the hot stuff, you'll get it…and a whole lot more. 14. THE ORDER I fell so hard for The Order . It wraps itself up a little too quickly, and I was a bit unsatisfied with how it concluded some storylines, but, almost from the jump, I was firmly enthralled with director Justin Kurzel's filmmaking approach to this police procedural and analysis of extreme white supremacy. On top of that, Nicholas Hoult is amazing, while Jude Law gives probably one of my favourite performances of his. Everything here is simply done well. The writing is precise, I loved the cinematography and sound work, and the tone is perfect. The Order is just a great movie. 13. HARD TRUTHS I've been awaiting the next film from writer/director Mike Leigh, and while Hard Truths doesn't quite reach the heights of his best, it's still a great outing from the filmmaker. Marianne Jean-Baptiste is a force of nature here, especially in the first half, when she performs Leigh's ruthless dialogue with a natural ferocity that made me laugh a lot. The second half dives deep into the darkness that plagues the lead and her family with some unsettling realizations and heartbreaking facts. The ending will leave many unsatisfied with its ambiguity, myself included, but I was really into Hard Truths , overall. 12. SATURDAY NIGHT Plain and simple, I loved Saturday Night . I do think it wraps up a little too quickly, but director/co-writer Jason Reitman ups his game big time here with a surprisingly effective ticking-clock narrative, unique cinematography choices, a pulse-pounding score, and stress-inducing editing. On top of that, the movie's really funny, as well. With an ensemble that's completely committed, Saturday features laugh-a-minute dialogue that feels perfect with the figures that are represented. Lastly, at a crisp 109 minutes, the movie gets to do everything it wants to do, and it balances all the characters wonderfully. This movie simply rocks. 11. FRIENDSHIP As a long-time fan of Tim Robinson's I Think You Should Leave , I'm delighted to say his comedic sensibilities aren't exclusive to sketch comedy. Thanks to Robinson's pitch-perfect delivery, Friendship contains plenty of laughter throughout. The constantly excessive absurdism of the plot and Paul Rudd's delightful straight-man act also add a lot to the experience when it comes to the hilarity. Did I think the movie's message on loneliness could've been executed better? Perhaps. But if you need to laugh consistently for 97 minutes, I don't know how Friendship wouldn't be exactly what you're looking for. 10. WILL & HARPER Will & Harpe r is the best Will Ferrell comedy I've seen in some time, featuring the laugh-out-loud moments that have been missing in the comedian’s most recent outings. Will & Harper is much more than laughter, though. For a documentary, the movie is very cinematic, and the core friendship at the heart of the film will make anyone smile. With its mature discussions and examination of post-transition life, this is a road movie that could be seen as necessary viewing. You'll laugh a lot, but when all is said and done, you may even cry. 9. FROM GROUND ZERO From Ground Zero , a film that is essentially a collection of 22 short documentaries, is a hard watch, but a necessary one. Each segment offers a unique voice and experience of the attacks on Gaza, giving the audience a full view of multiple heart wrenching realities of what life is like in retaliation to the attacks. It has the pitfalls you'd expect from an approach like this (some shorts stand out more than others), but seeing some embrace the dread of it all while others choose hope in the face of horror, From Ground Zero is thoroughly effective. 8. THE SHADOW STRAYS Fifteen minutes into The Shadow Strays , two badass ninjas cut multiple heads off, gun down multiple people, and slice folks up. So, suffice it to say, I fell for this movie quickly. The Shadow Strays rarely lets up with its ultra-violence, and when it does, it elevates the characters and the world around them. The movie never feels repetitive either, as director Timo Tjahjanto finds new and exciting ways to chop bad guys up…so much so that I found myself having a blast for all 144 minutes. If we truly are getting the sequel that is set up, bring it on. 7. ALL WE IMAGINE AS LIGHT When All We Imagine as Light ended, I just knew I had seen something special. The film takes a very meditative approach, which could be slow for many, but for me, I found writer/director Payal Kapadia's life-affirming film astoundingly well-made and emotionally stirring. The central performances, especially Kani Kusruti, are excellent, the score and cinematography are beautiful, and its themes of love and the joys of just getting by are easy to relate to. By the end, I had water in my eyes and a smile on my face. One of the year's most worthwhile experiences. 6. THE LIFE OF CHUCK The Life of Chuck will make you want to dance and fall in love with life. Writer/director Mike Flanagan ditches his horror comfort zone in favour of a movie that boasts a great ensemble, a fascinating structure that allows one to piece the film together as it goes, and not an ounce of cynicism in sight. Just a movie about allowing your love to guide the things you do, and enjoying the rewards that come with it. If I had to criticize, the movie looks a bit too polished, but I nonetheless loved The Life of Chuck . 5. I’M STILL HERE I'm Still Here is a powerful history lesson and a tragic family drama wrapped into one wonderful film that sheds a devastating light on the Brazilian military dictatorship of the 70s and pays homage to those who resisted. While some of the images and details can be hard to watch, at the heart of the film is the impact on the central family, which makes way for some emotionally devastating and cathartic moments, led to perfection by Fernanda Torres. It goes on just a little too long, but I was fully enamoured by I'm Still Here . 4. VIKTOR With Viktor , audiences are given access to a whole new way of looking at the Russia-Ukraine war, and I thought it was breathtaking. For one, the cinematography and sound design are astounding, enhancing the movie in every scene. However, what makes Viktor stand out most is that the empathetic look at its central figure allows audiences to view the war at a distance while still feeling the impact of everything as seen through a deaf man's eager eyes. A powerful and thought-provoking look at individuality and one's commitment to their country, Viktor is quite outstanding. 3. THE SUBSTANCE Dear God, Coralie Fargeat, you absolute mad woman. The Substance is insane. While the film features not one ounce of subtlety, its in-your-face approach winds up contributing to the primal enjoyment of this treat of a film. The execution is unique and fun as hell from the get-go, but towards the end, as it plunges itself deeper into madness, I couldn't keep my jaw off the floor because of the prosthetic work and overall insanity of the situation. It may not be the most effective message on beauty standards, but a one-of-a-kind blast nonetheless. 2. THE BRUTALIST The mere existence of The Brutalist is something to be amazed with. Writer/director Brady Corbet's three-and-a-half-hour epic harkens back to the likes of films such as Lawrence of Arabia and The Godfather , a grand, multi-decade journey that shows us just how wonderful and ugly the “American Dream” can be, told through a breathtaking performance from Adrien Brody. With its jaw-dropping score, magnificent 70mm cinematography, and script featuring dialogue and circumstances so interesting that it made its long runtime fly by, I imagine The Brutalist will be examined for years to come. 1. ANORA To say writer/director Sean Baker has upped his game would be an understatement. Anora is a laugh-out-loud comedy, a non-judgmental look at the lives of sex workers, an absolute off-the-walls thriller, and a tragic exploration of class and the ways people are struggling to make it by. In many ways, Anora does it all, especially considering the fantastic ensemble, led by a magnum opus performance from Mikey Madison. It made me laugh hysterically. It made me grip my seat. It made my jaw drop. It broke my heart. It’s a one-of-a-kind, entertaining joyride that is Baker's masterpiece.

Previous Next With the upcoming release of Top Gun: Maverick, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Legacy Sequels. 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. BLADE RUNNER 2049 Blade Runner 2049 , more than almost any other film in existence, is the definition of a perfect legacy sequel. Broader in scope but more intimate in its storytelling capacities, director Denis Villeneuve’s 2017 sequel to Blade Runner demonstrates its reverence for Ridley Scott’s foundational work whilst improving upon it in every fashion. From the tiniest whisper that expands the implications of its world to the largest and longest shots it has to offer, 2049 is an outright masterpiece. - Jacob 4. CREED How many times is the seventh entry in a film series amongst the franchise’s best entries? Miraculously, director Ryan Coogler rejuvenates a somewhat tired character and genre through heart, emotion, nostalgia, and an out-of-nowhere, Oscar-nominated performance from Sylvester Stallone. It’s the sequel no one asked for, yet it’s a revelation with the perfect blend of paying homage to its predecessors and taking the series in new directions. - Quentin 3. TOY STORY 3 There’s rarely a time where a third film in the trilogy is considered the best. And being the best after waiting 11 years for the next entry? Well, Woody, Buzz, and the crew pull it off. Be honest, you still cry at the furnace scene. - Amarú 2. STAR WARS: THE FORCE AWAKENS This film brought Star Wars back to life with instantly engaging new characters and the perfect amount of nostalgia. Where the prequels had their struggles, this brought fans back to a galaxy far, far away and picked up where the story left off in 1983. - Nick 1. MAD MAX: FURY ROAD With 30 years between films, the Mad Max franchise returned…and, boy, did it not disappoint! Series creator George Miller’s return to this post-apocalyptic world is a badass and chaotic masterwork that is, without question, the best in the franchise. An absolute roaring film that brings the franchise back to its feet. - Adriano HONORABLE MENTIONS TERMINATOR 2: JUDGEMENT DAY HALLOWEEN (2018) SPLIT JUMANJI: WELCOME TO THE JUNGLE SCREAM 4 Photo Credits: Photo 1, 2, 5 - Warner Bros; Photo 3 - Disney/Pixar; Photo 4 - Disney/Lucasfilm

MANHUNT Starring: Tobias Menzies, Anthony Boyle, Lovie Simone, Matt Walsh, Brandon Flynn, Betty Gabriel, Will Harrison, Hamish Linklater, Maxwell Korn, Patton Oswalt, Damian O’Hare, Lili Taylor, Anne Dudek, and Glenn Morshower Creator: Monica Beletsky QUENTIN Unlike its other new historical miniseries, Franklin , Apple TV+’s Manhunt manages to tell an interesting story full of conspiracy, political intrigue, and most importantly, moments that educate. Maybe it’s just me, a person who went to public schools in the American South, but I didn’t know a lot about the specifics surrounding Abraham Lincoln’s (Hamish Linklater) assassination, the hunt for John Wilkes Booth (Anthony Boyle), or the immediate aftermath of the Confederacy’s surrender. It was in gaining that knowledge that I actually enjoyed this series despite the slow start, mediocre performances, and terrible casting choices (I’m looking at you, Patton Oswalt). PRESTON Manhunt does manage to inform its audience regarding Abraham Lincoln’s assassination (spoiler alert), but cannot be called even close to efficient in doing so. The narrative bounces around from point to point with little care in why or where it proceeds, but in the end it does somehow manage to do so without completely losing the viewer. Its problems lie, almost entirely, in some very middling performances that rob the air of oxygen and give the show a sort of doltish quality. I would reserve my recommendation to watch to only the most ardent admirers of reconstruction-era America.

Previous Next January 23, 2023 WRITTEN BY: PAIGE With several films in play this awards season, independent film studio A24 has established itself as one of the hottest production companies in Hollywood. Founded in 2012 by Daniel Katz, David Fenkel, and John Hodges, the company has since grown exponentially, branching out from film to produce award-winning television series like HBO’s Euphoria and Hulu’s Ramy , as well as stand-up comedy specials for Jerrod Carmichael and Ali Wong. With prominent hits and diverse films like Ex Machina , Hereditary , and Uncut Gems in recent years, the company has shown that it isn’t afraid to take risks and think outside the box. From its first film, the Charlie Sheen-starring A Glimpse Inside the Mind of Charles Swan III in 2013, to 2016’s Moonlight , which won Best Picture, Best Adapted Screenplay, and Best Supporting Actor for Mahershala Ali, A24 has shown that it is a powerhouse distributor that should be considered one of the best in the business. As an A24 admirer, I can honestly say that I have loved most everything I have seen from the studio, from its horror films to its indie dramas. Some of my favorites include Room , Green Room , Spring Breakers , Swiss Army Man , Lady Bird , and Locke . With releasing such unique, small-budget films, it has shown that it isn't afraid to be different, and that is what makes the studio stand out to me so much. In allowing itself and the people it works with the freedom to be creative, A24 has been able to attract some of the best directors, actors, and actresses working today. Alas, while I could ramble on all day about why I’ve become such a fan of the studio, we’re here to look at its 2022 release calendar and discuss why it may have been the company’s best year yet. Although A24 released particularly impressive slates in both 2017 and 2019, in my mind, 2022 has been, without question, its best year so far. With 20 total releases, I’ve decided to list the five that I believe to be must watches. Of note, you’ll notice that critical hits such as The Whale , Causeway , The Inspection , White Noise , and After Yang didn’t make the cut. That just goes to show you just how strong, deep, and varied A24’s slate was in 2022. AFTERSUN I may not be a parent, but I’ve battled depression, and this film shines an honest light on that inner turmoil by portraying a depressed father attempting to put on a brave face for his daughter even though he can feel it all melting away. As such, this film really hit me emotionally. Yeah, it may not be the most entertaining film of the year, but it doesn’t need to be because it’s much more than that. It has deep layers that explore the desire to preserve shared memories. Aftersun is a beautifully heartfelt film with charming performances from Paul Mescal and Frankie Corio, and it’s the type of film that will make you rethink every interaction you've ever had with your parents. MARCEL THE SHELL WITH SHOES ON I still can’t believe A24 actually got this film made, and it’s honestly everything I’d hoped it would be. Creators Dean Fleischer-Camp and Jenny Slate turning their early 2000s short film into a feature was something I didn’t know I needed until I got it. We all need a feel-good, heartwarming film to watch from time to time, and Marcel the Shell with Shoes On is just that flick. It’s beautiful from the inside out, and one of the sweetest, most endearing movies of the year. It will remind you to appreciate all the little things in life, to smile more, and give you all the feels. I promise you’ll laugh, you’ll cry, and you’ll smile from ear-to-ear throughout the entire film. BODIES BODIES BODIES You ever feel like a movie was made especially for you? That’s Bodies Bodies Bodies for me. It’s pretty much an Agatha Christie-inspired episode of Euphoria , which, y’all know, I love that show. It’s phenomenally written and directed, featuring a spectacular cast that nails each stereotype perfectly, especially Rachel Sennott, who is pure gold in this flick. This film will have you laughing your ass off at all the one-liners, its color palette is dope AF, and the soundtrack is bloody rad. I’m calling it now: this is an immediate cult classic that will be watched at every sleepover. X/PEARL Yes, I’m cheating a little bit here, but you can’t have one without the other. It’s rare that we get two films from a franchise released in the same calendar year, let alone with both featuring a killer performance from the underrated Mia Goth. We start off with X , a classic slasher focusing on a group of 1970s porn stars being murdered. Right off the bat, I knew I would love this film because the slasher genre is my jam. Then, we get thrown back to the early 1900s with the prequel Pearl , a character-driven, psychological horror movie that features a performance from Mia Goth deserving of all the awards. All in all, director Ti West gave us something special that you can’t deny, and this horror franchise is one that should be on your radar! EVERYTHING EVERYWHERE ALL AT ONCE I don’t even know where to start when talking about this gem of a film, besides pointing out the obvious: it’s one of the best films of the year! Directing duo Daniels delivers one of the most bizarre and imaginative movies I’ve ever seen. It kicks ass while also being a heartwarming film with a powerful story. Everything Everywhere All at Once is packed with creative ideas, and the outstanding ensemble cast, led by Michelle Yeoh, executes each one so flipping well. If you haven’t seen this film yet, I don’t know what the hell you are doing with your life because you’re missing out on something brilliant. Overall, A24 blew me away in 2022! All these films rocked my socks off, and the five (okay, I cheated, six) films I recommended display just how diverse this film production company truly is. The list above includes a moving drama, heartfelt animation, a horror comedy, the start of an instant classic franchise, and an adrenaline-fueled sci-fi comedy. It really highlights just how impressive 2022 was for A24 when potential Best Picture nominee The Whale didn't even crack the Top FiveSix. And now that 2023 is here, I can’t wait to watch what’s coming next! Director Ti West will finish his Pearl trilogy with MaXXXine , starring modern-day scream queen Mia Goth; Ari Aster directs Oscar winner Joaquin Phoenix in the surrealist comedy-horror Beau is Afraid ; and Jesse Eisenberg makes his directorial debut with the coming-of-age dramedy When You Finish Saving the World , starring Julianne Moore and Finn Wolfhard. A24 isn't slowing down and, given the growth we’ve seen in the last decade, I’m very excited to see what 2023 and beyond bring for the studio! Photo Credits: A24

THE OLD MAN: SEASON TWO Starring: Jeff Bridges, John Lithgow, Alia Shawkat, and Amy Brenneman Creators: Jonathan E. Steinberg and Robert Levine QUENTIN After more than two years, The Old Man is back. Meh. Honestly, if not for the grumpy-old-men dynamic between Chase (Jeff Bridges) and Harper (John Lithgow), not to mention the performances (perhaps unsurprisingly, Bridges is the main draw for me), I might have checked out because the slow-moving and convoluted story just doesn’t grab me, nor am I truly invested in the characters’ fate or confrontation with past transgressions. That said, the plotline revolving around Alia Shawkat’s character is extremely compelling, but it’s little more than a MacGuffin to develop Chase and Harper. After all, the series is called The Old Man , not The Young Woman .

PARADISE: SEASON ONE Starring: Sterling K. Brown, James Marsden, Julianne Nicholson, Sarah Shahi, Krys Marshall, Jon Beavers, Nicole Brydon Bloom, Charlie Evans, Aliyah Mastin, Percy Daggs IV, and Gerald McRaney Creator: Dan Fogelman NICK Paradise , which proves itself to be more than meets the eye thanks to a twist in the opening episode, is the political conspiracy thriller that finally gives Sterling K. Brown a leading role. It fits him like a glove, too. Brown leads an intricate story that will keep you guessing while having you on the edge of your seat as the details unfold. There are times the story can get a little messy with all of its moving parts, but for pure entertainment value, it never lost me. Paradise has all the tools to become a hit, and hopefully it's just the beginning of Brown’s ascent. QUENTIN Paradise is a show that has the potential to fall apart if you scrutinize it too hard, but the twists and turns are so fun, even in their predictability, that you just want to sit back and enjoy the ride. It helps that the performances, especially from Sterling K. Brown and James Marsden, are so damn engaging, drawing you further into the conspiracy through well-developed characters and well-earned emotional beats. Plus, superficial things like terrific needle drops (both the original versions and their moody covers) and prominent Kentucky Wildcat references add enough window dressing to help create a winner in my eyes.

Previous Next July 24, 2024 WRITTEN BY: KATIE The concept of class and status is ingrained in British culture in a unique way. It’s deep-rooted and a defining characteristic of Britain, evidenced in the prevalence of the monarchy, divisive class politics, and our penchant for regal period dramas. We also have a rich history of working-class narratives in film, though, with the emergence of the British New Wave in the 1950s bringing gritty realism and drawing attention to working-class stories. These films have influenced British cinema for decades, including filmmakers such as Ken Loach, Mike Leigh, Andrea Arnold, Shane Meadows, and Francis Lee. However, despite the rich, long history of working-class narratives in British cinema, the state of the industry today is reflective of the fact that people from these backgrounds are growing increasingly disenfranchised and denied opportunity. Let’s talk about why that may be and how bad the problem is... Working-class representation in the UK film and TV industries is its lowest level in a decade, with just 8.4% of creatives coming from working-class backgrounds, whilst over 60% are middle or upper-class. Nearly half of all BAFTA and British Oscar nominees in the last decade were privately educated, yet across the UK, only 5.9% of pupils attend private schools. This is one of the many issues impacting the creative sector in the UK, forming barriers to access for working-class creatives. Other hurdles include, but are not limited to, the lack of creative subjects in schools, the de-funding of the humanities in further education, the disappearance of financially accessible arts education, and people being priced out of areas of opportunity — most notably, London. All of this leads to an issue James McAvoy has raised, addressing it as “the class ceiling.” He called out the dominance of British actors working today who are from “specifically fee-paying, private, expensive schools” such as Harrow (graduates include Benedict Cumberbatch) and Eton (Old Etonians include Eddie Redmayne, Damian Lewis, Tom Hiddleston, and Hugh Laurie). He has also spoken about the lack of working-class kids pursuing careers in the arts as symptomatic of “something wrong with our education system.” I couldn’t agree with this more. Unequal access to subjects like Film, Media Studies, and Drama has had a huge impact on children's ability to access careers in the sector, which has a direct impact on shaping the future of the industry. It prevents those who are most equipped and affected by working-class stories from telling them, and in turn, the public from accessing authentic representation. When the majority of actors are from the same backgrounds and have attended the same schools, it also means success is more often than not reliant on people having an existing network of connections, which prevents others from alternative backgrounds from accessing the same opportunities. These privileged circles are only made smaller by the fact that many good opportunities are restricted to London, which, again, is only accessible for those with the money and support to afford extortionate rental prices and a ridiculously expensive cost of living. Furthermore, one of the most common routes into film or TV is unpaid (or very low-paid) internships that working-class people obviously cannot afford to take alongside the full-time jobs they must keep to afford to live. What’s more, these financial and social issues result in cultural barriers. Research has shown that in recent years, working-class arts students at top universities have faced bullying and harassment due to their accents and regional dialects because they are perceived as indicators of social status, which further dictates whether such individuals are "accepted as ‘one of us’ by those in their chosen industry." Yet, despite current issues of defunding and inaccessibility, so many modern British success stories have come from diverse, working-class backgrounds and have demonstrably benefited from access to both free and subsidised education. There are countless examples: Top Boy director Myriam Raja said film development projects such as Random Acts, which also produced one of Riz Ahmed’s early films, enabled her to get her foot in the door of the industry and “sustain a career.” Daniel Kaluuya heavily relied on free and low-cost arts and youth clubs across North London, and he believes they got him his first jobs, including appearing in and writing for Skins . Riz Ahmed, who has been very outspoken about the lack of diversity in the UK industry, wouldn't have been able to access the high-quality education he had without scholarships, diversity schemes, and other forms of financial support. All that is to say that, clearly, the British working class lacks authentic representation on screen at the moment. With this in mind, I’d like to highlight some films that are not only excellent but also, in my opinion, represent the working class and their life experiences in an authentic way, created by directors or starring actors from working-class backgrounds. FISH TANK (2009) Director Andrea Arnold was raised by a single mother on an Essex council estate (similar to Section 8 housing in America), and her social-realist drama Fish Tank follows young Mia (Katie Jarvis), who lives on a council estate with her single mother and younger sister. Filmed with a gritty, realistic approach and handheld camera, the film follows Mia as she spends her days getting in trouble, starting arguments, and drinking whatever booze she can find. The family is struggling, and social services is threatening to get involved. However, things start to change when Mia’s party-girl mother brings home a nice new boyfriend, played by Michael Fassbender, who immediately forms a bond with Mia. Fish Tank is emotionally devastating. It offers an honest, unflinching portrait of the lives of working-class people on housing estates, and how these pockets of society can be forgotten and neglected. The representation of the estate is also incredibly authentic, with characters who feel so real and so lived-in that it’s like I’ve seen them across the street before. Interestingly, Jarvis was just a year older than her character when the film was shot, she also comes from an Essex council estate, and was a first-time actor in the film, all of which lends itself to her character’s authenticity and powerful presence. BOILING POINT (2021) If you’re a fan of the stressful intensity and frantic energy in The Bear , then you’ll love Philip Barantini’s low-budget drama Boiling Point . Starring the great Stephen Graham as an overwhelmed and overwrought Head Chef, the film follows a chaotic kitchen amid a busy night of service where everything is going wrong. The film is fast-paced and follows many threads, giving the viewer a brief glimpse into the unique emotional, mental, and financial struggles of many members of the culinary workforce. It’s also shot in one single take, which is completely seamless and deeply engaging, drawing you further and further into the nail-biting drama whilst refusing to give you a moment to breathe. The fact that I didn’t even notice this approach until halfway through the film is a testament to just how well this creative choice works. Combined with the rest of the fantastic cast and an amazing sound design that recreates the cacophonous sounds of a busy kitchen, Boiling Point is a technically brilliant and ridiculously entertaining film. HOW TO HAVE SEX (2023) Molly Manning Walker’s debut feature, How to Have Sex , is an incredible coming-of-age drama that follows a group of school friends on a British rite of passage: the post-exam girls’ holiday. Tara (Mia McKenna-Bruce), Em (Enva Lewis), and Skye (Lara Peake) stay at a cheap hotel and hit the party strip in Crete, drinking a profuse number of fish-bowl cocktails with the goal of Tara losing her virginity at the forefront of their minds. The film navigates the intricacies of female friendship, peer pressure, and the fraught nature of consent in a world where women are discouraged from communicating their desires and thoughts. Although it can be uncomfortable, Walker thoughtfully and empathetically handles the trauma and nuances of sexual assault, utilising stark realism alongside dizzying club scenes to juxtapose the rowdy drunken nights with the sobering cold light of day. Walker has an amazing understanding of young, working-class culture, for better and for worse, demonstrated by authentic characters and relatable experiences. THE KITCHEN (2023) Daniel Kaluuya’s social-realist dystopian drama The Kitchen takes place in a neglected London housing estate, and it examines the worst-case scenario in terms of gentrification and the affordable housing crisis in a near-future Britain. The film highlights issues already present in the system, whilst also acting as a cautionary tale about the impact of austerity and the over-policing of disadvantaged communities. Co-directors Kaluuya and Kibwe Tavares have commented that the film is influenced by their experiences of mass gentrification and their wish to represent working-class black British culture on screen. Despite the building tension and volatile situation the protagonists are in, I love that the film also pays attention to the budding relationship between Izi (Kane Robinson) and Benji (Jedaiah Bannerman), who each give compelling performances that act as the heart of the film, drawing attention to the power of community. Much like many close-knit communities that exist in working-class Britain today, The Kitchen represents solidarity, humanity, and compassion. Plus, the world-building is fantastic, with a distinctive setting that juxtaposes against the expensive new builds just beyond the estate.

DARK WINDS: SEASON ONE Starring: Zahn McClarnon, Kiowa Gordon, Jessica Matten, Deanna Allison, Rainn Wilson, Elva Guerra, Jeremiah Bitsui, Eugene Brave Rock, and Noah Emmerich Creator: Graham Roland QUENTIN Dark Winds is not without its bright spots. Zahn McClarnon and Kiowa Gordon are great as a pair of Navajo sheriffs forced into a reluctant partnership, and the cinematography should be recognized amongst the best on television. However, the central mystery is sorely lacking. Things that should be major plot points come across as afterthoughts to the show’s Native American setting, almost like the producers were so caught up in making an authentic Navajo-centric experience that they forgot to flesh out the actual story. I commend the effort to feature such an underrepresented community with total reverence, but it doesn’t make for a compelling drama.

SPECIAL OPS: LIONESS: SEASON ONE Starring: Zoe Saldaña, Laysla De Oliveira, Dave Annable, Jill Wagner, LaMonica Garrett, James Jordan, Austin Hébert, Jonah Wharton, Stephanie Nur, Hannah Love Lanier, Michael Kelly, Nicole Kidman, and Morgan Freeman Creator: Taylor Sheridan PRESTON At season’s end, I was less concerned about the abuses suffered by Cruz Manuelos (the character) than those enacted upon Laysla De Oliveira (the real-life actor) because of the role that was written for her. Against the backdrop of a star-studded crew who perform as expected, it felt particularly tragic that she should be flip-flopping between the over-the-top Marine and clever CIA operative. Lamentably, Lioness ’ own bemused purpose vacillates between the dark, politically charged House of Cards and The Unit ’s focus on the tier one special operations community; both of which tower over this most recent Taylor Sheridan creation. QUENTIN Even as a fan of series creator Taylor Sheridan, I’ve long noted that writing female characters is not his strong suit. So, with Lioness , a Homeland -style series that revolves around TWO women (Zoe Saldaña, Laysla De Oliveira), Sheridan’s shortcomings are doubly noticeable. Plus, and it’s hard to tell if it’s De Oliveira’s acting ability or her simply trying to save a poorly written character, but she’s overbearing in her attempts to portray a badass, never-say-quit Marine who doesn’t take shit from anyone. Overall, it's derivative, cheesy, unnecessarily melodramatic, and proof that Sheridan, who is the writer/creator of seven active series, is doing way too much.

Previous Next Happy Halloween! We decided to drop our Top Five list for you a day early to give you another October 31st treat! With that being said, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Horror Comedies. For inclusion on this list, a film needs to be intended comedy as opposed to "so bad it's good" or a horror with comedic moments. 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. GHOSTBUSTERS When it comes to horror comedy classics, who you gonna call? For such a simple concept on paper (I wouldn't call fighting ghosts revolutionary), Ghostbusters has stood the test of time for a reason. Beyond being funny and endlessly quotable, Ghostbusters is a fun-as-hell adventure, and one that will remain in the pantheon of comedy classics until film dies out. Bill Murray steals every single scene he's in, of course, but Dan Aykroyd, Ernie Hudson, Sigourney Weaver, and the late, great Harold Ramis are all hysterical as well. To put it bluntly, Ghostbusters came, saw, and kicked ass. - Adriano 4. GREMLINS Director Joe Dante's Gremlins is the definition of iconic. The silly little mogwai has been a staple of pop culture since the film's release back in '84, and you can still feel his influence today through characters like Baby Yoda, who's essentially just a dollar-bin Gizmo. It's impossible not to fall for this film's small-town charm, the incredible puppetry, and the hilarious cartoon energy. This 80s classic brings the laughs, but it’s also pretty creepy because I distinctly remember the swimming pool scene giving me nightmares as a kid. If you're looking for a great horror comedy to watch this holiday season, you can never go wrong with Gremlins . - Caleb 3. BEETLEJUICE Beetlejuice is Tim Burton-directing at its best, and one of the most originally written comedy-horror films of its kind. Its success is somewhat self-evident… I mean, there was a Beetlejuice cartoon, several video games, a musical, and now a sequel coming next year for Beetleju …whew, that was close! This film is infinitely clever in its hilariously complicated and overly bureaucratic afterlife that forces the involvement of the aforementioned freelance “bio-exorcist” (Michael Keaton) and shifty miscreant we’ve come to love. It’s memorable and (kind of) wholesome family fun. All I need to say is “Daaaay-O,” and, yep…you know the scene! - Preston 2. SHAUN OF THE DEAD There would be no Cornetto Trilogy if the first movie wasn’t pure perfection. Simon Pegg, Nick Frost, and Edgar Wright blend the exact right amount of comedy into the zombie genre to make something uniquely singular, but still scary enough to not feel like a parody. The entire cast fits right into place with the film’s kinetic yet dry energy (don’t ask me how those two fit together) to make an instant classic that is sure to make many a Best Of… list to come. - Amarú 1. THE CABIN IN THE WOODS The best horror film about horror films, The Cabin in the Woods stands out as one of the single most original horror comedies ever. Despite relying entirely on tropes, well-worn stereotypes, and familiar plot points, it totally subverts all expectations and revitalises the genre by satirizing the mechanics of the horror movie. It’s extremely smart and funny, yet it doesn’t take itself too seriously while still bringing some genuine scares, fantastic special effects, and one of the most thrilling and unexpected third acts I’ve ever seen, not to mention its fantastic cast and pitch-perfect performances. - Katie HONORABLE MENTIONS WHAT WE DO IN THE SHADOWS THE FRIGHTENERS TUCKER & DALE VS. EVIL JENNIFER'S BODY READY OR NOT Photo Credits: Photo 1 - Columbia Pictures; Photo 2, 3 - Warner Bros.; Photo 4 - Rogue Pictures; Photo 5 - Lionsgate

THE SEX LIVES OF COLLEGE GIRLS: SEASON TWO Starring: Pauline Chalamet, Amrit Kaur, Reneé Rapp, and Alyah Chanelle Scott Creators: Mindy Kaling and Justin Noble PAIGE The Sex Lives of College Girls delivers on three fronts to make it an enjoyably easy watch: it’s hilarious, horny, and light-hearted. This season continues to deliver what I liked best about Season One while also stepping its game up in terms of humor and story depth. There is no denying the main cast's great chemistry, which feels authentic and relatable, but what I loved most about this season is that the characters branch out of their so-called collegiate stereotypes to become women learning to navigate life.

ALIEN: EARTH: SEASON ONE Starring: Sydney Chandler, Timothy Olyphant, Alex Lawther, Samuel Blenkin, Essie Davis, Adarsh Gourav, Kit Young, David Rysdahl, Babou Ceesay, Jonathan Ajayi, Erana James, Lily Newmark, Diêm Camille, and Adrian Edmondson Creator: Noah Hawley QUENTIN In case you have the same fear I did — that Alien: Earth would only tease the xenomorphs until the finale — fear not! The titular aliens (and other related creatures) show up in the premiere and make regular and frightening appearances throughout the entire series. On top of that, the biggest compliment I can give is that Earth is very much in line with Ridley Scott’s classic in horror tone, terrific imagery, and compelling characters (Episode Five, especially). Although the plot is sprawling, featuring a lot of moving parts and very dense, slow-burn storytelling that can occasionally lead to pacing issues, every franchise fan should be thrilled. PAIGE Creator Noah Hawley does a wonderful job of skillfully crafting a series that fits right in and expands Ridley Scott’s Alien franchise. Though there are some wonky CGI moments and pacing issues, when the show uses practical effects and leans into its themes, it thrives. Alien: Earth combines heady sci-fi ideas with thought-provoking topics that feel so relevant and topical to today’s real world. Packed with strong performances from its ensemble and unique comparisons and references to Peter Pan’s “Neverland,” this series certainly proves that this franchise still has something worth bursting out of the chest for. ROBERT When you hear that an established movie IP is being translated to TV, you get nervous. How will that look on the small screen? Well, if you have Noah Hawley at the helm, it works out fantastically. Alien: Earth further expands the lore of the Alien universe by showing creatures beyond the Xenomorphs and fleshing out how long Weyland/Yutani has been trying to monopolize the bioweapon market. Centering the story around corporate jockeying and espionage is timely and thought-provoking, but to have the type of scaled action revolving around it is truly special. While a slow burn, it emanates bright.