Previous Next Summer is here so we're bringing you a two-part series of the greatest Summer Blockbusters of all time. Finally, we look at the best the 21st Century has to offer as the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Summer Blockbusters of the 21st Century. Due to the scope of this list, we narrowed it down to films that were released within the summer window and were a top five box office draw in their year of release. Each writer ranks their top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. SPIDER-MAN: ACROSS THE SPIDER-VERSE I take full umbrage against anyone who disparages this as just “half a movie” because it ends on a cliffhanger. Yes, we still have to finish Miles’ (Shameik Moore) story, but Gwen (Hailee Steinfeld) gets a full blown arc that not only raises her character, but supplements that of Earth-42’s Spider-Man (Miles, for those who are asking). So any claims of flaws are misguided when it comes to story, and obviously any claims of nothing less than perfection in the visuals, action, characters, and voice-acting are utterly preposterous. This is the Empire Strikes Back of comic-book movies, the Two Towers of superhero films, and if you haven’t caught my drift, barring how well Beyond The Spider-Verse lands, this is the best film in what will hopefully be the greatest trilogy of all time. Any thoughts other than that can get lost in one of The Spot’s (Jason Schwartzman)… spots. - Amarú 4. PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL Given that it was based on a children’s amusement park ride and was a movie about pirates — a rarely profitable on-screen subject — The Curse of the Black Pearl was a gamble that turned out to be lightning in a bottle, featuring all the elements of a perfect summer popcorn movie. You’ve got extremely fun supernatural and action-adventure elements. You’ve got the type of tremendous production design usually reserved for prestige dramas. You’ve got hilarity amongst the many quotable one-liners and just the right amount of scenery chewing. You’ve got an iconic score that evokes the perfect swashbuckling vibe. You’ve got young hotties Orlando Bloom and Keira Knightley in peak hottie form. And most of all, you’ve got a committed (and Oscar-nominated) Johnny Depp, who absolutely understood the assignment for the type of movie he was in. Five Oscar nominations, $650 million in box office returns, and being the third highest grossing movie of 2003 only cement Black Pearl as one of the best summer blockbusters of all time, not just the 21st century. Savvy? — Quentin 3. SPIDER-MAN 2 Last year, to celebrate the 100th anniversary of Columbia Pictures, Sony re-released all eight live-action Spider-Man films in theatres every Monday from April until June in an event known as “Spider-Mondays”. Being the Spidey fan I am, I took advantage. But real talk, I only went for the Sam Raimi movies. The opportunity to re-watch his trilogy on the big screen was too big to miss, especially since they’re some of my favourite comic book movies of all time. The 2002 original is the ideal version of an origin story, and as messy as the third instalment is, I’d argue time has been kinder to it than some of the MCU entries people swear are superior. But as much as I love both, there’s no denying that Spider-Man 2 is the peak. It’s a perfect blend of high-octane action, naturalistic drama, sweeping romance, and the occasional dash of horror (the *extremely* Raimi hospital scene scared me silly as a kid). I laugh each time that Aunt May (Rosemary Harris) slaps the gold coin out of the bank teller’s hand in the middle of Doc Ock’s (Alfred Molina) robbery. I cry each time the train passengers swear to keep Peter’s (Tobey Maguire) identity a secret, out of awe for his heroism. I sing along to Dashboard Confessional’s “Vindicated ” any time I let the credits play. Obviously, there’s been a ton of superhero movies in the two decades since its release. Some have been as big. Others have been much bigger. But I’d argue none are as perfect. - Bode 2. TOY STORY 3 Quick little story: I was nine when Toy Story 3 came out (I don't know if that ages me or the exact opposite), and my parents told me we could go see it if I was good at the dentist. As someone who loved Woody (Tom Hanks) and Buzz (Tim Allen) my whole childhood, I was just happy to see them on a movie screen at that age. Watching the film as an adult, I now realize the emotional devastation that those talking toys can conjure up with their metaphor for parenthood and growing up, hitting harder the older I get, but that fond memory of watching it for the first time right before school ended was something else. A perfect end to a historic franchise (or at least it would've been), and a fun and beautiful movie that I believe is Pixar's best. - Adriano 1. THE DARK KNIGHT The first time I saw The Dark Knight was quite the indelible theater experience for my growing cinema fandom; I had loved movies before, but sitting down for that thrill ride was formative, despite how old I was at the time. From the opening heist to the action set pieces in Hong Kong and on the Bat Bike, there is no shortage of moments that force you to widen your eyes and truly appreciate the scale of movie-making accomplishment. Over time, I have seen through the spectacle and drilled down to some inconsistencies with plot and dialogue, but that doesn’t take away from where this sits on the pantheon of summer blockbusters and comic book movies. Christopher Nolan is a master of making the fantastical seem tangible and giving an auteur sensibility to the most well-known of IP, and it culminates with The Dark Knight as a real-life magic trick. - Robert HONORABLE MENTIONS TOP GUN: MAVERICK IRON MAN CAPTAIN AMERICA: CIVIL WAR SHREK THE AVENGERS

Previous Next With the upcoming releases of Teen Wolf: The Movie and Luther: The Fallen Sun, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Movies Based on A TV 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. THE NAKED GUN You can't make a list of great comedic characters without including Frank Drebin. Still among the funniest films ever made, The Naked Gun (and its sequels) is spoof done right. Although the original series was quickly cancelled, Leslie Neilsen's timing and wit were enough to give Drebin a second life on the big screen. Luckily, the feature was much more sharply written, and it gave Neilsen a chance to put on a comedic masterclass. Four decades later, and this one is still good for a laugh. - Nick 4. 21 JUMP STREET I love a film that knows it shouldn’t exist yet justifies itself at the same time. That’s exactly what 21 Jump Street is. A film that is more than aware of its own absurdity and how unoriginal it is, the result is still something wholly unique, funny, and heartfelt. It's a staple of 2010s comedies and a worthy adaptation. - Adriano 3. THE FUGITIVE There's not much I have to say about The Fugitive as an adaptation (I never watched the show it's based on), but hot damn, if it doesn't still get the job done every time. Harrison Ford carries the role admirably to be sure, but the true star is Tommy Lee Jones and his note-perfect one-liners. I miss when mid-budget movies like this were a dime a dozen and could be both nominated for and even win Oscars. - Jacob 2. STAR TREK Since its days as a television series, Star Trek has been perennially in the cultural zeitgeist, proven to be one of the most influential shows on the air. Pitched as "a wagon train to the stars," the original series was meant to show hope for an idealized future, one where mankind has shed its foibles in the name of progress. As a film series, while the results have been uneven, movies like Wrath of Khan , Undiscovered Country , and the 2009 reboot remain shining beacons of science fiction, giving fans unforgettable characters to be cherished through the generations. - Darryl 1. MISSION: IMPOSSIBLE It says a lot when each individual team member's top list includes almost every movie from a singular franchise (I’ll bet you two slow-motion doves you can guess which one didn’t make it). But, honestly, Mission: Impossible may be one of the most consistent franchises in movie history. It doesn’t just rely on the crazy stunts and insane action, but casts well-acted ensembles and builds memorable worlds that get grander (and arguably better) with every film. While I’m personally partial to M:I3 due to Phillip Seymour Hoffman’s scary brilliance, I can’t wait to see if Dead Reckoning usurps that crown. - Amarú HONORABLE MENTIONS SOUTH PARK: BIGGER, LONGER & UNCUT THE MAN FROM U.N.C.L.E. BATMAN: MASK OF THE PHANTASM WAYNE'S WORLD THE ADDAMS FAMILY Photo Credits: Photo 1, 4, 5 - Paramount Pictures; Photo 2 - Columbia Pictures, Photo 3 - Warner Bros

THE INSTITUTE: SEASON ONE Starring: Ben Barnes, Joe Freeman, Simone Miller, Fionn Laird, Hannah Galway, Julian Richings, Robert Joy, Martin Roach, and Mary-Louise Parker Creator: Benjamin Cavell QUENTIN On paper, The Institute has quite a bit going for it, including an interesting premise from Stephen King and a creepy actor or two that play in the “nefarious experiments” sandbox pretty well. Plus, who doesn’t like Mary-Louise Parker? However, the terrible writing, uninteresting protagonists, sluggish pacing, competing storylines, and general YA-ness of it all make for a yawn-inducing viewing experience. It seemingly wants to be a mix between The New Mutants and Stranger Things — which, again, not a bad idea for a show — but it’s too pedestrian to conjure real intrigue in the mystery it’s peddling and too neutered to generate any true dread.

ONLY MURDERS IN THE BUILDING: SEASON ONE Starring: Steve Martin, Martin Short, and Selena Gomez Creators: John Hoffman and Steve Martin AMARÚ The first episode of Only Murders in the Building was rough. I don't know... Maybe the charm of Steve-Martin-Short (yes, I did that) is of a bygone era. Plus, Selena Gomez's flat affect is slightly off-putting. Yet, something kept me watching the next episode, then the next, then suddenly binging all the released episodes until I was waiting impatiently for the finale. Turns out an old-fashioned "Whodunit?" is the kind of fun missing from TV. Gomez grows on you too, mixing modern flavor with nostalgic comedy. Add a great season ending stinger. and the mood is set for more murders. QUENTIN Although it takes an episode or two to get going, Only Murders in the Building easily coasts on the chemistry between Steve Martin and Martin Short. It also playfully mocks the current obsession with true crime podcasts, but in a way that doesn't feel malicious. It's quite charming, actually. The story moves at a solid clip, with several engaging cliffhangers to propel the viewer to the next episode, and the score is delightfully elegant. Selena Gomez doesn't really have the charisma or screen presence to stand toe to toe with the two legends, but it hardly derails the series.

Previous Next March 15, 2026 WRITTEN BY: THE BITESIZE CREW Presenting our 5th annual Bitesize Awards! You know the drill… similar to the Bitesize Top Five, each writer ranks their Top 10 selections for each awards category. Those lists are then weighted on a reverse point system. After all the points are tallied, we have our nominees. Finally, we voted on each award using the same method to get our winners. So, without further ado, here we go! BEST MUSIC SINNERS Music is the backbone of Sinners , making it a clear standout for this award. The film’s score astonishingly blends blues, jazz, and folk music into this horror drama so perfectly that it makes it feel both authentic and emotionally powerful. With Ludwig Göransson being one of the best modern composers working today, it is evident that every time he and director Ryan Coogler collaborate, we get lightning in a bottle and get to see the magic come to life. Through its score, original songs, and soundtrack, the music in Sinners becomes a character in its own right and perfectly captures the setting and tone. It is soulful yet chaotic, which grounds the story while simultaneously amplifying the film’s tension. - Paige Other Nominees: ONE BATTLE AFTER ANOTHER MARTY SUPREME 28 YEARS LATER F1: THE MOVIE GAMECHANGER MILES CATON ( SINNERS ) This award was formerly known as the Breakthrough Artist award, but we decided to change it to Gamechanger to allow established actors to be recognized for bringing something new to the table. Well, Breakthrough, Gamechanger, it doesn't matter, because Miles Caton is your winner either way. Yes, Michael B. Jordan's dual performance has taken much of the Sinners spotlight, but at the end of the day, this is Sammie Moore's (Caton) movie. From beginning to end, Caton is steady. He goes toe to toe with the likes of Jordan, Delroy Lindo, Wunmi Mosaku, Hailee Steinfeld, and he does it without any prior film credits. Then there's the voice. Caton emanates pure soul when he performs - channeling memories of Sam Cooke - and that's even more impressive when you learn that, similar to acting, he'd never played guitar before Sinners . Pretty damn impressive. - Nick Other Nominees: CHASE INFINITI ( ONE BATTLE AFTER ANOTHER ) JACOBI JUPE ( HAMNET ) ALFIE WILLIAMS ( 28 YEARS LATER ) DWAYNE JOHNSON ( THE SMASHING MACHINE ) HIDDEN GEM FREAKY TALES Most hidden gems have a niche target audience whose voices are loud enough to gain a bit of traction due to said niche. Well, consider me the loudest in the room for this Oakland-based, science-fiction, action anthology film that hit every aspect of my Bay Area-loving heart. Sure, my bias may make it feel like Freaky Tales isn’t deserving of this award (I recognized the school I taught in for the first six years of my career just off a half-a-second shot in the background), but luckily it is. Its pulpy action (especially in the gloriously bloody final act led by a fantastically Bruce Leroy coded Jay Ellis), great Oakland soundtrack, a movie-stealing cameo smack in the middle of an inspired ensemble, and the distinct narration of Too $hort, fit the puzzle pieces together in one of the most fun and surprising films of 2025. If you’ve ever visited Oakland, you come away surprised by how much more depth is under the preconceived notions, and Freaky Tales mirrors that onion-like quality as act after act reveals more pleasant surprises than you thought possible. - Amarú Other Nominees: EEPHUS MY DEAD FRIEND ZOE FIGHT OR FLIGHT THE SURFER IN ALL SERIOUSNESS AWARD ONE BATTLE AFTER ANOTHER The portmanteau “dramedy” denotes a film equal parts comedy and drama, but even when one genre is the overwhelming theme of a movie, the other genre exists within to further highlight and enhance either the seriousness or the laughability to which it aspires; One Battle After Another is hilarious, but exists to be referential and poignant on real issues. Film bros will argue this isn’t even in Paul Thomas Anderson’s top five of his career, but its accessibility and rewatchability in comparison to the rest of his filmography is not a detriment, but something to applaud. Every performance, from Leo DiCaprio’s Bob Ferguson to his in-laws, is crafted in a perfect mosaic to construct a universe where getting your hands dirty is inherent to living and nothing anyone does or says is wasted. Through this, I was introduced to Chase Infiniti, who crashes onto the screen like a tidal wave, almost winning scenes against veterans like Leo and Sean Penn. The classic film homages paid through the camera work and art direction are beautiful and serve a timeliness despite the subject matter. There was never any doubt, from the first announcements of the Leo/PTA collaboration to the final cut, that this would be an awards favorite, and it didn’t disappoint; enjoy it sober or after a few small beers, or any level of sobriety really. - Robert Other Nominees: TRAIN DREAMS MARTY SUPREME HAMNET BLACK BAG ADRENALINE AWARD SUPERMAN It’s no exaggeration to point out that James Gunn had a massive undertaking with his version of Superman . As the writer and director, he had to succeed at reintroducing the Man of Steel after filmmakers before him had struggled to do so following the Richard Donner entries. Since he’s the co-head of the newly formed DC Studios, he also had to make sure it served as a solid launch to their new cinematic universe after the last one failed to challenge Marvel as they had hoped. Gunn was tasked with all of this, and at a time when superhero fatigue was probably at its most potent amongst film critics, casual moviegoers, and even some hardcore comic-book fans. But by God, he managed to pull it off. Bringing much of the same nerdy vibrancy present in his Guardians of the Galaxy movies, Superman plays out like a random Golden Age issue vividly brought to life, with all the frenetic action, goofy comedy, beautifully weird creature designs, and sweeping romance to go with it. It is punkrocking proof that the cure to superhero fatigue is in quality, not quantity, and I hope that as Gunn continues to expand this universe across film and television, he stays true to that. - Bode Other Nominees: THUNDERBOLTS* WARFARE PREDATOR: BADLANDS MISSION: IMPOSSIBLE - THE FINAL RECKONING LAUGH OUT LOUD AWARD THE NAKED GUN Truth be told, when I first saw the trailers for The Naked Gun , I rolled my eyes into another dimension and audibly said “oof.” Frankly, it looked terrible. Contributing to that, I’m sure, is that there hadn’t been a good spoof comedy since 2000’s Scary Movie , mostly because filmmaking duo Jason Friedberg and Aaron Seltzer flat-out murdered the genre with the tragically terrible Date Movie , Epic Movie , Disaster Movie , Meet the Spartans , Vampires Suck , The Starving Games , and Superfast! . However, I should have had faith in The Lonely Island’s Akiva Schaffer (co-writer and director) and Family Guy ’s Seth MacFarlane (producer), both of whom have been successfully churning out parody gags, quotable one-liners, and hilarious goofiness for years. Couple their comedic genius with full awareness of what a new Naked Gun movie should be, not to mention a delightfully deadpan Liam Neeson and a fully game Pamela Anderson, and one ends up with the funniest and perhaps most surprising movie of the year. If you avoided it because of the trailers, you are missing out on something that will make you laugh until your face hurts. A piece of advice: skip the wine from Bill Cosby’s private estate because you don’t want to sleep on this one. - Quentin Other Nominees: NO OTHER CHOICE WAKE UP DEAD MAN: A KNIVES OUT MYSTERY ROOFMAN ONE OF THEM DAYS NIGHTMARE AWARD SINNERS What do vampires and the blues have in common? Literally nothing. But it lays the groundwork flawlessly for Ryan Coogler’s horror sensation, Sinners , to take shape. Sinners uses vampires to explore its themes of cultural integration in the midst of Jim Crow America, not just as an “ahh, sharp teeth” creature feature, although Coogler makes sure to leave some of that in there. His pension for genre perfection carries over into the horror genre as if he’s been there the whole time, sticking true to its influences that paved the way for past monster flicks, but with its own juice and swagger to create a frightening identity of its own. Sinners has already sunk its teeth into the neck of cinematic history, and that's simply because it's so amazingly special. - Adriano Other Nominees: WEAPONS FRANKENSTEIN THE LONG WALK 28 YEARS LATER FTK AWARD PADDINGTON IN PERU Whilst Paddington is technically for the kids, the loveable bear and his wholesome cinematic adventures are adored by them as well as wider audiences and critics alike. Although not the favourite among Paddington and Paddington 2 , Paddington in Peru is still one of the best family-friendly films of 2026, speaking to the strength of the trilogy, and it carries its predecessor's irresistible charm, light-hearted humour, opposition to xenophobia, and themes of kindness and acceptance. Especially in the current social and political climate, Paddington’s message feels poignant, and the film’s warmth and optimism are needed. Paddington in Peru leaves London behind for the deep jungle of Peru, and not only does it have fantastic action set pieces and impressive visuals, but it also boasts hilarious character performances from Olivia Colman and Antonio Banderas. Colman is brilliant as the saintly Reverend Mother, leaning on her origins in British comedy for a hilarious performance that got a laugh out of me each time she was on screen. Plus, Banderas positively revels in his role as the roguish captain Cabot, bringing the perfect adventurous spirit to the film. - Katie Other Nominees: HOW TO TRAIN YOUR DRAGON ZOOTOPIA 2 KPOP DEMON HUNTERS SKETCH BEST DIRECTOR PAUL THOMAS ANDERSON ( ONE BATTLE AFTER ANOTHER ) It feels almost miraculous that Paul Thomas Anderson, who has never really been a box office darling as a filmmaker, managed to convince the higher-ups at Warner Bros. to give him a budget reportedly anywhere from $130–$175 million for a near three-hour, genre-bending, VistaVision-captured epic inspired by a Thomas Pynchon novel that features tons of allusions to the hot-button issues that still surround America to this very day. While those who work in the industry can go on about how this happened, I - the viewer - am just happy it exists. One Battle After Another offers PTA the chance to finally level up to the big leagues without sacrificing any of what has made him so unique since his start, from his eccentric sense of humour to his profound observations of how the passage of time can give and take away. It flows in a way that only a master like Anderson can ensure it does, and that’s helped by his innate gift of getting the best people in front of and behind the camera to execute such a gigantic vision. It may seem like hyperbole at this point, but there’s a reason why he’s one of the greatest to ever do it. - Bode Other Nominees: RYAN COOGLER ( SINNERS ) CLINT BENTLEY ( TRAIN DREAMS ) GUILLERMO DEL TORO ( FRANKENSTEIN ) JOSH SAFDIE ( MARTY SUPREME ) BEST SUPPORTING ACTRESS AMY MADIGAN ( WEAPONS ) I was familiar with Amy Madigan’s roles prior to Weapons, but never put together that they were all from the same person; my initial excitement for her Aunt Gladys was because I was into Andor and thought she was Kathryn Hunter. I apologize for the disrespect because she is equal parts horrifying, tragic, and comical as the main foil in this high-concept horror-thriller. There have been arguments that, beyond some nitpicks with the overlay of the timelines of the character chapters, the third act lets Weapons down because the mystery of the children’s disappearance is more compelling before the reveal. However, I think the oddity of Gladys and the inconclusiveness of where her magic originated and how she was bound to a demon tree is still engaging. The conclusion of her story is one of the most insane eight-minute stretches you will see on film, all sold by how you despise her for disrupting so many lives for her own self-preservation. There is a reason why the Aunt Gladys prequel was greenlit so quickly after the film’s release and why Madigan is in contendership for the Best Supporting Actress Oscar; unlike her character, Madigan is only getting better with age. - Robert Other Nominees: TEYANA TAYLOR ( ONE BATTLE AFTER ANOTHER ) WUNMI MOSAKU ( SINNERS ) INGA IBSDOTTER LILLEAAS ( SENTIMENTAL VALUE ) ODESSA A’ZION ( MARTY SUPREME ) BEST SUPPORTING ACTOR JACOB ELORDI ( FRANKENSTEIN ) The phrase transformative performance is thrown around a lot, but had you not known Jacob Elordi was playing The Creature in Frankenstein beforehand, it would be pretty tough to decipher. This is not just a result of makeup and costume, but the way that Elordi embodies his character. His movements and overall presence are unlike anything we've seen from him, and it's exactly what the character calls for. Whether it's the menacing and terrifying monster seemingly hunting Victor for revenge or the softer side when he's interacting with Elizabeth (Mia Goth) or The Blind Man (David Bradley), Elordi understood this assignment. Every moment he's on screen, you can see the torture and anguish The Creature has dealt with, and yet, you also get to watch him grow and display a level of humanity that can rival that of certain humans. It's a performance you can't turn away from. - Nick Other Nominees: BENICIO DEL TORO ( ONE BATTLE AFTER ANOTHER ) STELLAN SKARSGÅRD ( SENTIMENTAL VALUE ) SEAN PENN ( ONE BATTLE AFTER ANOTHER ) DELROY LINDO ( SINNERS ) BEST ACTRESS ROSE BYRNE ( IF I HAD LEGS I’D KICK YOU ) I’ve always appreciated Rose Byrne’s comedic performances and roles in horror films, but I realise that, until now, she had not had the opportunity to show her true range and abilities. Her performance as Linda, a therapist by profession and mother to a daughter with an eating disorder, in If I Had Legs I’d Kick You is exhausting in the best way possible, effectively portraying her character’s rising sense of panic in the face of the unattainable but inescapable expectations of motherhood, and her subsequent unravelling. Director Mary Bronstein's audacious decision to omit the daughter from being seen is a stroke of genius, completely solidifying the viewer’s identification with Rose Byrne’s character and creating a sense of intense claustrophobia. Like her character, we cannot escape her relentless responsibilities and the mounting stress that she is under, and Byrne’s face carries the weight of every demand she is subject to. In a complementary way, If I Had Legs I’d Kick You is not a film to be enjoyed, but endured, and relies on Byrne’s propulsive, multifaceted performance to balance the stressful atmosphere with our sympathy for her character. - Katie Other Nominees: JESSIE BUCKLEY ( HAMNET ) RENATE REINSVE ( SENTIMENTAL VALUE ) EMMA STONE ( BUGONIA ) JENNIFER LAWRENCE ( DIE MY LOVE ) BEST ACTOR TIMOTHÉE CHALAMET ( MARTY SUPREME ) Timothée Chalamet unlocks his full potential as Marty Mauser in Josh Safdie’s Marty Supreme . With this role, he once again proves that he is one of the most versatile actors of his generation. Who would’ve thought a film about achieving greatness in ping pong in the 1950s could be so compelling? But it works because Timmy embodies this character and truly makes Marty his own. Considering he is portraying such an arrogant and selfish person - screwing everyone over in his life and doing whatever he has to do to pursue greatness - he strangely makes Marty enthralling through his charisma leading to a character I couldn’t help but root for the entire time. Some may even say Chalamet has transformed into a real-life Marty Mauser by trying to achieve greatness at all costs, and in my eyes and the Bitesize team’s eyes, he certainly did with this performance. - Paige Other Nominees: JOEL EDGERTON ( TRAIN DREAMS ) LEONARDO DICAPRIO ( ONE BATTLE AFTER ANOTHER ) MICHAEL B. JORDAN ( SINNERS ) ETHAN HAWKE ( BLUE MOON ) BEST ENSEMBLE SINNERS 2025 was filled with films jam-packed with stacked ensembles, from a four-headed lead of captivating family drama to a cavalcade of veteran actors interacting with newcomers and breakout stars with surprisingly hilarious and persistently heart-pounding energy. Yet, amongst one of the strongest lineups of acting nominees in recent memory, was there ever any doubt that Sinners had the strongest ensemble of the bunch? Starting with Michael B. Jordan showing a range of subtlety that no one knew he had in him, making one man feel like two real-life twins in Smoke and Stack. Then, add in standout performances, including the breakout debut from Miles Caton and his voice (a character all its own) and the absolute magnetism of Jack O’Connell. Bolster that with Delroy Lindo’s long-overdue Oscar nomination in a role filled with sadness, charm, and levity, Omar Benson Miller’s scene-stealing line deliveries, and Thomas Pang’s effortless chemistry with Jordan. And I haven’t even mentioned the best part of the entire film, its women. Li Jun Li’s tenacity, Jayme Lawson’s sultry appeal, and Hailee Steinfeld’s surprising… “maturity” all have you in the palm of their hands. Wrap all these amazing performances around my personal MVP - the heart, soul, warmth, strength, and protector of this ensemble - Oscar-motherfuckin'-nominated Wunmi Mosaku, and you can’t help but fall in love with everything happening on the screen. All before sneaking in Buddy Guy? This ensemble man… an absolute chef’s kiss. - Amarú Other Nominees: ONE BATTLE AFTER ANOTHER MARTY SUPREME THE LONG WALK WEAPONS BEST PICTURE ONE BATTLE AFTER ANOTHER Much has been said about how relevant to the moment One Battle After Another is, but not enough about how it’s so timeless. Yes, authoritarianism and modern white supremacy are key elements, and the propulsive nature makes this unbelievably watchable for its over three-hour runtime filled with thrills and laughs in nearly every scene. The timeless nature, however, plays into the soul of Paul Thomas Anderson’s latest masterpiece: The father-daughter dynamic. It’s not simply a “Nazi’s are bad” narrative, but a tale of a burnout ex-revolutionary who did the noblest deed one can do: raise his daughter to fight the next battle. It turns this hilarious political thriller into something so deeply universal. PTA is unquestionably one of the greatest directors of all time, and we’re lucky to live through another magnum opus from a master. - Adriano Other Nominees: SINNERS TRAIN DREAMS MARTY SUPREME NO OTHER CHOICE

TRUE DETECTIVE: NIGHT COUNTRY Starring: Jodie Foster, Kali Reis, Finn Bennett, Fiona Shaw, Christopher Eccleston, Isabella Star LaBlanc, and John Hawkes Creator: Issa López ADRIANO I'm well aware that I'm thoroughly on the outs when it comes to the first season of True Detective , so much so that I didn't even bother with its second or third season. So, I was initially delighted when I found myself really into Night Country' s dreary atmosphere and setting. However, as the weeks went on, I found it to be as derivative as Season One, and it started to slowly lose me despite excellent performances from Jodie Foster and Kali Reis. I think I just need to accept that True Detective is not for me. QUENTIN After five long years, True Detective is back! I wish I could tell you it was worth the wait. Despite decent performances and a moody atmosphere, Night Country tries to do too much in just six episodes. It is so packed with superfluous side characters and uninteresting subplots that there is hardly any space to generate compelling mystery with the two murder investigations. Plus, there is an air of supernatural nonsense that moves this usually grounded crime show closer to Stephen King’s miniseries The Outsider , which isn’t what I want from True Detective . Overall, I’m not sure it’s any better than the much maligned second season.

MUSCLES & MAYHEM: AN UNAUTHORIZED STORY OF AMERICAN GLADIATORS Starring: Danny Lee Clark, Lori Fetrick, Debbie Clark, Erika Andersch, Jim Starr, Michael M. Horton, Shirley Eson, Raye Hollitt, and Sha-Ri Pendleton Creators: Jared Hess and Tony Vainuku QUENTIN Admittedly, my review of this docuseries is probably 95% nostalgia driven because I grew up watching American Gladiators with my grandmother. I even had the action figures! That said, Muscles & Mayhem is a fun, if at times cheesy, exploration of the series’ path to broadcast, its out-of-nowhere popularity, and all the behind-the-scenes shenanigans (read: sex, drugs, and ‘roids). Best of all, with appearances from multiple Gladiators, it’s just neat to hear them dish rather candidly about who was doing what, to see what they look like nowadays, and to simply watch the vintage clips. If you were a fan, it’s a must watch.

CLIPPED Starring: Laurence Fishburne, Jacki Weaver, Ed O’Neill, Cleopatra Coleman, Kelly AuCoin, Richard Sommer, Harriet Sansom Harris, J. Alphonse Nicholson, Sheldon Bailey, and Austin Scott Creator: Gina Welch AMARÚ Improving with each episode, Clipped evolves from its saccharine, throw-as-much-information-at-the-screen-until-something-sticks start into a very entertaining and surprisingly effective series. While the performances are great, with Laurence Fishburne, Jacki Weaver, and Ed O’Neill leading the way, you can’t help but laugh at how much the actors playing NBA stars are not the people they’re portraying. Weirdly, this irreverence highlights the audacity of the Sterlings’ privilege, and creates an enjoyable tone of ridiculous disbelief that not only balances humor and sincerity, but also creates empathy for what those players must’ve been feeling. NICK It’s a bad time to be an old white man named Donald. Clipped is the most Ryan Murphy (non Ryan Murphy) show I've ever seen. It's got the exaggerated personalities, the soap opera elements, and that FX sheen. Also, like a Murphy series, Clipped thrives on its accurate casting. Laurence Fishburne and Ed O'Neill drive the show, but the supporting cast all come to play. I knew of Donald Sterling (O’Neill), but was unaware of the intricacies of his tenure with the Clippers or his relationship with his secretary (clear comparisons to the current Vince McMahon case). It’s a dramatization, sure, but it entertained me. QUENTIN Overall, Clipped is an entertaining show that features some fantastic performances. However, there is a tonal imbalance that prohibits it from being as great as HBO’s Winning Time . Half of the story is almost a comedy, taking a trashy tabloid approach to Don Sterling’s (Ed O’Neill) and V. Stiviano’s (Cleopatra Coleman) buffoonery. Meanwhile, it (rightfully) gets serious when it explores how this incident affected Doc Rivers (Laurence Fishburne) and the players (a scene between Fishburne and LaVar Burton, who is playing himself, is especially poignant). It’s still worth your time, but a little more consistency in the tone could have made Clipped great.

SUCCESSION: THE FINAL SEASON Starring: Jeremy Strong, Sarah Snook, Kieran Culkin, Brian Cox, Matthew Macfadyen, Nicholas Braun, and Alan Ruck Creator: Jesse Armstrong PAIGE Succession will go down in history as one of the greatest HBO shows of all time. Season Four felt unforeseeable yet entirely inescapable, coming full circle and leaving the Roy children exactly where they started. This journey has allowed the Roy family to become some of the most compelling and well-rounded characters to grace our television screens, which is all due to the series’ remarkable writing, incredible direction, and phenomenal performances. I’m going to miss witnessing the triumphs and falls of this toxic-ass family, but what more can I say besides “fuck off…”; go watch this series if you haven’t already done so! ADRIANO Succession ’s final season cemented what was already clear: it will go down as one of the best shows ever made. Show creator Jesse Armstrong’s final outing allowed for his themes of greed, generational trauma, and living up to your families’ legacy to finish in a way that feels not only good, but right. The twists and turns are more shocking than ever, and the ensemble is just as snarky as you remember. Personally, I’m still reeling from the finale’s explosive twist, and it’s a show whose impact will stay with me for years to come.

Previous Next May 5, 2023 WRITTEN BY: AMARÚ AND JOSEPH Following the release of and mixed reviews surrounding Ant-Man and the Wasp: Quantumania , not to mention the general conversation of “superhero fatigue” getting increasingly louder, our very own Amarú and Joseph used an email chain to discuss MCU’s Phase 4 and The Multiverse Saga to determine just what the hell everyone’s problem is. This is that discussion, with edits only being made for clarity of understanding. J: So…what do you think, Ru? If you ask me, the main problem is the fans. Yeah, that’s a loaded statement, but stay with me… Phase 4 has been an interesting experiment (to say the least), but let’s be realistic: Phase 1 was just as aimless as Phase 4, except now, the general audience is like Joseph Gordon-Levitt’s character in ( 500) Days of Summer , upset that their impossible, self-imposed expectations aren’t being met. A: Yeah, I guess there might be some aimlessness, but if you take a deeper look at the ratio of universally loved MCU films relative to the number of films released in the given Phase, you’d see that the percentage of “great” films in Phase 4 is around the same as earlier Phases. I’m pretty positive that most people don’t consider Phase 1’s The Incredible Hulk , Thor , or Iron Man 2 as classic comic book content. Same with Phase 2’s Iron Man 3 , The Dark World , or Age of Ultron . Admittedly, Phase 3 is an outlier here because so many MCU films and storylines were wrapped up in one of the biggest achievements in cinematic history. Hmm… that actually furthers your point though. After Phase 3, Phase 4 expectations were impossibly high, and with that, you end up with an MCU fanbase that has divided into two factions: one that believes the MCU is dying since it has failed to meet those expectations, and the other living by the mantra “In Feige We Trust.” It seems your only choices as a fan are to be a shill who blindly loves every new piece of MCU content or a hater that spews the paper-thin theory of “superhero fatigue.” But I think the other thing that really gets lost in the shuffle here is that all this content comes from Marvel Studios…emphasis on Studio . The Universals and Paramounts of the world release dozens of movies a year in different genres and of varying quality, and they don’t get the vitriolic fandom treatment if one doesn’t hit. They are expected to have a mix of duds, blockbusters, and Oscar-caliber movies, and The Multiverse Saga’s catalog mirrors a typical studio’s catalog more than it mirrors Phases 1-3 because it has demonstrated the studio’s ability to break away from “The Formula” to release content in any genre that it chooses. Quantumania is a Star Wars -like space opera, Multiverse of Madness is horror adventure, and regardless of whether their brand of comedy worked for you, Love & Thunder (slapstick), Ms. Marvel (coming-of-age), and She-Hulk (courtroom procedural) all stuck to a clear and specific comedic style. With all this new genre-specific content, not to mention special presentations like the 1940s-inspired Halloween special Werewolf by Night and The Guardians of the Galaxy Holiday Special , I have to wonder if it’s time for fans to stop putting an Infinity War -level standard on each and every piece of content the studio releases. J: Yeah, No Way Home isn’t a hit because it offers world-altering consequences for the MCU, but rather because of how it treats its characters. Arguably, this is the first Spider-Man film where Peter Parker actually feels like Spider-Man by the end. He is forced to sacrifice and deal with tough issues that pose a greater threat, but more importantly, are deeply personal. Thor has a similar struggle in Love & Thunder . He’s trying to find his inner hero while also learning that he can’t save the love of his life, which harkens back to the cause of his depression and time as Bro Thor: his inability to save mankind from The Snap. I think the big thing people forget is that these heroes are also “people.” They have canonically gone through serious trauma after Infinity War and Endgame , and in order to remain good characters that we want to continue watching, they need to be developed. There can’t be a Thanos-level threat in every movie; otherwise, how would anyone grow? Are all these great characters supposed to just go back to normal after The Blip? There are real effects to what has happened, and those effects should be shown. But back to your point about Marvel being a studio first… There is kind of a Catch-22 here. On one hand, Phase 4 seemed, at times, like it could have been the birth of the typical studio approach. Warner Bros. doesn’t require you to watch Dune to understand Elvis or Space Jam , and several pieces of Phase 4 felt like they were going to be self-contained enough to be their own brand. It’s a smart idea. Those who may have avoided the MCU for fear of not knowing the proper watching order could jump in without feeling lost while also finding their niche brand of Marvel. On the other hand, in the typical studio form that the typical studio doesn’t say out loud, Marvel Studios is interested in making money and keeping their audience…an audience that they know always wants their stories bigger and better while also being as straightforward and interconnected as possible. This is where A-List cameos and the introduction of new characters in post-credit scenes come in. Ms. Marvel ceases to be a unique, standalone coming-of-age story as soon as you announce that the character is integral to 2023’s The Marvels , which the series even cemented with a Brie Larson cameo. It doesn’t make the series bad in and of itself, but people who may not have cared for the tone or youth-skewing storyline probably felt they had to watch it because skipping it would have been like skipping a chapter in a book. If they didn’t watch Ms. Marvel , would they be lost when watching The Marvels ? So, Marvel can either potentially win new fans through creative and varied swings or potentially lose fans who feel they are constantly hate-watching things outside their wheelhouse just to keep up. With those two options in mind, why reinvent the wheel? Why invest in more unique, standalone stories when the fans you are ostensibly trying to please - the ones who are already here - will talk shit the whole time on the internet? It’s a “bird in the hand, two in the bush” scenario. A: Honestly, they are damned if they do, damned if they don’t. With more than a century’s worth of comic lore to delve into, the backing of The Mouse, and the vision of Feige, the MCU has the capacity to do both. If Feige & Co. can balance must-see content with creative freedom, while also giving fans what they want, why would they pass that up? Good on them for trying. Unfortunately, the opportunity for growth has turned into a lose-lose situation because of the internet. Either Marvel jumps to the whims of a fandom wanting every single frame to move the collective story forward, make the same kinds of movies for another 20 years, and incessantly listen to the fatigue claim…or they take more risks with their content, slow roll the vision of the next two or three phases, and continue to listen to claims that their films have lost their luster. J: Definitely. The true threat to the MCU isn’t Kang the Conqueror, it’s a toxic fandom that emboldens and enables the shareholders to chase corporate greed while quieting the internet, leading us to a generic future where every movie is about the same two-dimensional heroic archetype with virtually no weakness saving the world for the umpteenth time. A: All in all, I’d tell fans maybe instead of perceiving every piece of content you don’t like as the end of the MCU as we know it, consider how long it actually took to get to this place. No comic book fan ever thought this possible, and it has taken nearly 20 years to get here. Get out of your feelings and give Marvel the benefit of the doubt. I think they’ve earned it. Marvel Studios might not be exactly like other movie studios, but they ARE a studio. If we don’t let them act like one, it’s like you said: that’s where actual fatigue will set in because another 20 years of the same MCU formula is going to get boring. Despite what fans may think, Phase 4 has brought the most originality we’ve seen since 2014’s Guardians of the Galaxy . That’s almost a decade ago. Granted, not all of them have lived up to the unrealistic post-Thanos hype, but is that Marvel’s fault for not delivering or the fans’ fault for being unreasonable? Truthfully, how much of Phase 4 is any worse than Guardians of the Galaxy Vol. 2 or Ant-Man and The Wasp ? If the fanbase’s floor is two pretty-good-but-flawed movies…and the ceiling is near-masterpieces Infinity War and Endgame … I think the MCU is doing just fine. Photo Credits: Photo 1, 2, 3 - Marvel Studios; Photo 4 - Marvel Comics

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

Previous Next June 2, 2026 There are many infamous creepypastas, but Kane Parsons has made his feature directorial debut by bringing one of the most notable to the big screen with Backrooms . Join Nick, Shak, and Adriano as they discuss the 4chan post turned YouTube digital series turned feature film starring Chiwetel Ejiofor and Renate Reinsve. 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!