Previous Next September 10, 2025 WRITTEN BY: AMARÚ As I’m writing this, I’m lying in bed trying to recover from my first day back at work after attending the 50th Toronto International Film Festival, a.k.a. TIFF 50. My body is currently yelling at me for not resting sooner after four straight days of waking up at 8am every morning and not getting back to my hotel room until after midnight every night. It is especially feeling Saturday, when I essentially lived in Toronto’s Scotiabank Theatre for 12 hours. I left screening number 10 fresh from a Matthew McConaughey disaster film just to turn around and walk back into the same exact seat I had just left to watch an Aaron Taylor-Johnson heist film, only going outside once just to line up and walk back in to catch Park Chan-wook’s latest comedy. That was all before watching three more films by the day’s end. This past weekend was a non-stop rotation of wake up, movie, bar food, walking, talking, people watching, and sleep. And after five failed attempts at attending a film festival as press (I’m looking at you New York, San Diego, and Austin), I can tell you with absolute certainty that I wish I was still in Toronto with my fellow Bitesizers, making my body slowly crumble under the weight of beautiful cinematic nerdom. TIFF was absolutely the perfect first film festival to attend. From grabbing a picture with Ms. Marvel (Iman Vellani, who was festing right alongside the rest of us) to immediately turning around to see Ghost from Power (Omari Hardwick) walking towards me, to meeting the Canadian delegation of the Bitesize family (Nick, Adriano, Bode) and extended family (Amanda and Shak) for the first time in person, I was in my element. Watching 15 films in four days seems like an overwhelming task, but with such a friendly environment, easily accessible theaters, (mostly) helpful volunteers and staff (DM me about the “mostly”), and the buzz of being around thousands of my people, those four days went by in a flash. For all these reasons, I hope to continue going to TIFF for years to come, and I haven’t even mentioned the actual films I sat down to watch. As much as I want to keep waxing poetic about the experience overall, the movies are the main reason I attended. So here are my rankings of the films I was lucky enough to preview at this wonderful festival, and to those who are still there living it up, I wish you all a very happy TIFFTY. 15: SIRĀT Sirāt is what I used to think Mad Max: Fury Road was: a long road trip with pulsating music heading towards no real destination. It’s the film equivalent of an EDM song, which means it’ll work for many people, I’m just not one of them. Swaths of scenes drag for unending minutes as dreary desert landscapes make our protagonists’ situation bleaker and more burdensome with each passing mile. The focus that puts on the ensemble does allow for some endearing moments, but not enough to really say more than “oh shit” for a fleeting second before not caring once more. 14: MOTOR CITY I’m not going to go say I disliked Motor City , but the big swings it takes don’t always land. There are some great action sequences, including in one location that is quickly becoming a genre staple (you’ll know it when you see it), but the minimal dialogue lends itself to too many slow-motion dramatics that drag the pacing down to lethargic levels. Instead of a cohesive film, it was multiple scenes stitched together, some that dragged and some that rocked, but not at all the intense ball of energy it could have been. 13: NIRVANNA THE BAND THE SHOW THE MOVIE Watching such a Toronto-centric film with such a Toronto-filled audience definitely helped my viewing of Nirvanna The Band The Show The Movie. Now, don’t get me wrong, there were plenty of jokes that I laughed at all on my own, but the communal experience informing me when I missed a very specific joke allowed for director/star Matt Jones and Jay McCarrol’s charm to naturally grow on me. It’s silly and ridiculous in plenty of the right ways, and while it didn’t necessarily fully hit my funny bone, there was an endearing story of friendship to help boost the laughs I both caught and missed. 12: THE CHRISTOPHERS Here is one thing I didn’t think I would say about The Christophers : it’s adorable. Or more appropriately, Sir Ian McKellen playing devilishly adorable makes the film an entertaining watch. He’s a one-man wrecking crew of brash insults and hilarious narcissism. Michaela Coel, conversely, plays off him tremendously with just a piercing look, and both performers needed all the charm they could muster to dive deeper into the messages of adequacy and affirmation the surface-level script couldn’t quite grasp. The leads prove there’s something to this film, and you could feel that every time the story just escaped beyond that something’s reach. 11: THE FURIOUS The Furious is absolutely bonkers. Director Kenji Tanigaki found the best ways to use the different fighting styles linked to the who’s who cast of cinematic martial arts masters, putting together tremendously unique, mind-bending, and jaw-dropping choreography. It’s a gloriously violent affair with gasp-worthy moments, made all the better with its pulpy reverence to the camp that makes many martial arts films a goofy and hilarious time. Story-wise, it does nothing we haven’t seen before, but what we really want to see is the marvelous things that our minds could never imagine the body doing. The Furious delivers that in spades. 10: THE LOST BUS There is no way to truly capture the devastation that 2018’s deadly Camp Fire caused in California, but director Paul Greengrass’ expertise with the shaky handheld does a damn good job getting audiences to that place. Surprisingly, his use of drone shots to mimic the dangerously fast-flowing ferocity of high-wind fires is just as harrowing. Matthew McConaughey’s gritty emotion fits perfectly to infuse genuine despair into The Lost Bus , and while some of the beats are heavy-handed, the gravity of his situation juxtaposed to found-footage of the actual fire ensured that anything less punchy would seem dramatically insufficient. It’s cliché and intense, but it works. 9: THE SECRET AGENT You can feel every bit of The Secret Agent ’s almost three-hour runtime, but it interestingly never takes you out of the film. Director Kleber Mendonça Filho creates beautifully colorful shots and builds great character depth with his meticulous pacing. That slow-build simultaneously has you lost and locked into its disjointed narrative, which has you anticipating the final puzzle piece that clicks the film’s mysteries into place. Much of this is due to a terrific cast, with Wagner Moura continuing to catapult to must-see status, not to mention a standout performance from Tânia Maria. It took a while to get through, but The Secret Agent is worth the payoff. 8: POETIC LICENSE Whether Poetic License was fully scripted, fully improvised, or somewhere in between, director Maude Apatow’s directorial debut fully utilizes Leslie Mann and the entire cast’s awkward energy to successfully point the camera and say “go!” Mann is excellent in her element, but it’s the fantastic duo of Andrew Barth Feldman and Cooper Hoffman, who look like Second City veterans “yes, and-ing,” that anchor this heartfelt yet face-coveringly embarrassing story. It takes some time to find its footing, but the longer it goes, the more awkward it gets, and the funnier and steadier Apatow’s genuine debut becomes. 7: FUZE Director David Mackenzie wastes no time putting Fuze’ s fun machinations into motion, and there isn’t an ounce of dead weight in its 98-minute well-oiled, military crime, cat-and-mouse games. Like clockwork, each scene meticulously moves at a pace that keeps you guessing (sometimes correctly, sometimes not), but never bombastically so. Once you’re dropped in, your eyes never stop looking for the next exit, the next deception, or the next sleaze ball maneuver from a fully game Theo James. Fuze is a ticking time bomb that never feels out of control yet keeps its players and its audience continuously looking around the next corner. 6: RENTAL FAMILY Rental Family is a sweet story that digs deeply into our inherent need for human connection, doing so with sincerity and an open heart. And it's apropos that Brendan Fraser, the sweetest man in Hollywood, is the catalyst of that honest wholesomeness. He was made for this role, embodying a level of truly inspirational empathy. Director Hikari’s smart use of her entire ensemble, through which she successfully delivers this unique story without a drop of saccharine frivolity, also is remarkable. Some emotional beats needed more time to breathe, but the smile on my face the entire runtime was genuinely undeniable. 5: HEDDA Before you know it, Hedda (both the film and Tessa Thompson’s character) has you completely wrapped around their finger. Thompson is scandalously mischievous in an enthralling lead turn, Nia DaCosta is somehow improving her already bewitching directorial vision, and Hildur Guðnadóttir ensnares it all together with her playfully mysterious score. By the time Nina Hoss’ Eileen lights a match to the gunpowder trail of a wandering first act, you look around wondering when this team completely snatched your attention. Hedda is a wonderfully mesmerizing train wreck of twists, lies, love, and lust that holds your heart in one hand just to snatch your throat with the other. 4: THE MAN IN MY BASEMENT Nadia Latif’s directorial debut is a darkly meditative look into family legacy, history (specifically surrounding Black people in the U.S.), and self-worth that uses spooky imagery and sinister blocking to create an eerie tone. But truthfully, her great direction is merely a runway to showcase a career-best performance from Corey Hawkins. It’s very hard to make you forget about Willem Dafoe, but Hawkins’ commanding desperation (which, of course, is elevated by Dafoe being Dafoe) is the lynchpin on which every aspect of this film turns. It’s a tremendously shattering performance that delivers a remarkably thought-provoking movie. 3: DINNER WITH FRIENDS Learning that they shot this movie in only nine days further solidifies that Dinner with Friends is a spectacular feat. Depictions of adult friendships usually aren’t the centerpiece of films dealing with the emotional weight of growing up, but the way in which the entire cast felt like they had known each other for decades proves how much that relationship lens shapes each of our lives. Through the laughs, arguments, pettiness, joy, messiness, and truth that conversations with friends create in ways conversations in romantic relationships do not, director Sasha Leigh Henry makes the camera, and audience, the ninth friend in this endearingly authentic story. 2: WASTEMAN We all (should) know that David Jonsson is on the precipice of greatness, but it’s Tom Blyth to whom I owe an apology. I wasn’t really familiar with your game, sir. Wasteman is a two-man tour-de-force wrapped in director Cal McMau’s visceral encapsulation of the hellish conditions of prisons everywhere. His hard-hitting mix of close-quarter camera work and found-footage prisoner videos sets the foundation for Jonsson to showcase a vulnerability not many actors can manage while Blyth hits a level of menace and intensity I didn’t know he could reach. This one hits hard, and it will leave you in a breathless sweat from start to finish. 1: NO OTHER CHOICE I’ve not seen much of Park Chan-wook’s filmography, but it did not take long to recognize his masterful direction while watching No Other Choice . This dark comedy is a masterclass in comedy of error, effortlessly finding the humor in bleakness and the ridiculousness in desperation. Lee Byung-hun masters the descent into madness when no option is your only option, but it’s Son Yejin that surprisingly holds the heart of this story surrounding class disparity and the despair capitalistic systems can create. I was mesmerized by this beautifully macabre artistic wonder, and it’s no wonder that Chan-wook has the word “masterpiece” thrown around every time he drops something new.

ZERO DAY Starring: Robert De Niro, Angela Bassett, Lizzy Caplan, Jesse Plemons, Joan Allen, Connie Britton, Dan Stevens, Matthew Modine, Bill Camp, and McKinley Belcher III Creators: Eric Newman, Noah Oppenheim, and Michael Schmidt AMARÚ Zero Day starts off as a straightforward political mystery, but as the story barrels forward and the twists keep piling up, Eric Newman & Noah Oppenheim’s tense writing allows the stacked ensemble to flex their more-than-capable acting chops. There’s present-day political commentary mixed with science fiction elements that shouldn’t work together, but the show’s grounded nature pulls the hodgepodge off. It’s a tad bit overwrought and can feel a little messy at times, but watching Robert De Niro spar with Angela Bassett, Lizzy Caplan spar with Jesse Plemons, and Joan Allen absolutely demand the screen makes Zero Day a worthy watch. ROBERT Post-Lost , I was a major proponent of FlashForward , a show where everyone on Earth loses consciousness for 137 seconds to see their future. Zero Day reminded me of a less fantastical version of that crossed with House of Cards , where everyone is impacted by a global event that takes lives and mounts political intrigue. The difference between these programs is that I felt FlashForward’ s mystery was more compelling since the plot dynamics of Zero Day play out stupidly for six episodes. A few good performances can't save what is an overall benign thriller that's less effective than a pop-up ad. QUENTIN Zero Day is a great example of how a star-studded cast can elevate terrible writing without saving it because, despite the ensemble’s collective 15 Oscar and 32 Emmy nominations, this political conspiracy thriller is a mess that only barely reaches “somewhat watchable” status. The entire cast does the best they can with the material, with most getting at least one awards-worthy scene, but on the whole, cringy dialogue, silly twists, and plot points that are somehow rushed in the face of laggy pacing undermine a series that takes itself way too seriously as it tries to lightly comment on current events without picking a side. BRYAN When one is told a Netflix series stars the likes of Robert De Niro, Angela Bassett, and Jesse Plemons, it’s an easy addition to the watchlist. Despite all the promise on paper, the results are otherwise middling, to say the least. The stacked cast is doing their damndest to carry Zero Day on its back, but it mirrors the plethora of airport thrillers that lack any ounce of thrills or intrigue to keep the plot moving forward. It's utterly forgettable by the end, and not even very entertaining, which may be the show’s biggest sin.

THE WHITE LOTUS: SEASON THREE Starring: Walton Goggins, Jason Isaacs, Parker Posey, Aimee Lou Wood, Patrick Schwarzenegger, Carrie Coon, Michelle Monaghan, Leslie Bibb, Natasha Rothwell, Sam Nivola, Sarah Catherine Hook, Lalisa Manobal, Tayme Thapthimthong, and Jon Gries Creator: Mike White PAIGE Season Three of The White Lotus may have taken its time to get into the groove of things, but once its waves crashed, they crashed hard, proving once again that creator Mike White’s writing is meticulous and thought-provoking. This season’s themes of identity and spiritual journey weaved together a diverse group of individuals, all of whom delivered exceptional performances. That being said, it was a little disappointing that not every plot thread had a true arc or resolution. But I think there's a purpose behind this since life doesn't always have all the answers for us. Nonetheless, it’s still among the best shows on TV, even if this season wasn’t its strongest outing. KATIE The third season of The White Lotus solidifies the series as one of the most well-written and compelling TV shows around. Although this season still goes for the throats of the ignorant, rich, and privileged guests, it's darker and more cynical than its predecessors, focusing more on the significance of spirituality, masterfully building tension that simmers throughout the season. All of the performances are pitch-perfect, and I cared about these characters far more than in previous seasons. The resolutions may not be as dramatic or surprising as many hoped, but they are undeniably satisfying and fitting for each character. QUENTIN Had this been Season One instead of Season Three, I might have been more forgiving, but as it stands, this latest offering of The White Lotus is covering the same “rich people also have problems” themes as before but with diminished results. The performances are equal to those that came before (for the most part), but the story suffers from atrocious pacing, too many characters, satire that is much less sharp than before, and a simple lack of intrigue. I’m not saying I won’t give Season Four a chance, but it really feels like series creator-writer-director Mike White has run this well dry. ADRIANO While this is easily the weakest season, I still think this was another great outing for The White Lotus . It hits some roadblocks with episodes where storylines come to an absolute standstill, but series creator Mike White crafted fascinating characters and stories. This series is mostly known for its wild moments, of which there are fewer this season since it takes a more spiritual route, but it still works because of the chaotic examination of what wealth does to people. So, yeah, not my favourite season, but it's still well-acted and engaging. BODE Spirituality has been a recurring theme in Mike White’s work as far back as his previous series, Enlightened , so building the third season of The White Lotus around it should be an ideal recipe for success. Unfortunately, it comes up pretty short because White sacrifices much of the comedy to focus more on the mystery in ways that aren’t properly satisfying, nor helped further by slower-than-necessary pacing, obvious plotting, and repetitive motifs. The new ensemble is very solid, and of course, there are great one-liners and monologues sprinkled throughout; however, taken all together, this is easily the weakest season to date. Check out our reviews for Season Two HERE .

Previous Next March 10, 2023 WRITTEN BY: THE BITESIZE CREW Time for the Bitesize Crew to predict the 95th Academy Awards. Do we think Everything Everywhere All at Once will sweep the acting categories? Did anyone dare vote against Guillermo del Toro's Pinocchio? Brendan or Austin?

A FRIEND OF THE FAMILY Starring: Jake Lacy, Colin Hanks, Anna Paquin, Lio Tipton, Hendrix Yancey, Mckenna Grace, and Austin Stowell Creator: Nick Antosca NICK Another day, another series based on a true story. But unlike many of those (Netflix’s Dahmer comes to mind), there is nothing that feels exploitative here. From the moment you’re introduced to the first episode by the actual Jan Broberg herself, you know this will be a respectful telling of this outrageous story. Jake Lacy's chilling portrayal of the manipulative Robert Birchtold carries the series to completion, but things lose some steam when Mckenna Grace takes over as an older Jan (due to the plot direction, not the performance). All told, this is a worthy watch, particularly if you missed the Abducted in Plain Sight documentary.

Previous April 29, 2026 Next A BITESIZE CHAT WITH SEAN GUNN Actor Sean Gunn (Guardians of the Galaxy , Gilmore Girls ) joins Nick to talk about the final installment in the Guardians' trilogy, the mo-cap process for Rocket, and what's next for Kraglin. Make sure to check out Guardians of the Galaxy Vol. 3 now in theatres. Interview conducted on May 2nd, 2023 by Nick van Dinther. Photo Credits: Banner - Frederic J. Brown/Getty Images; Photos - Marvel Studio

Previous Next January 7, 2026 WRITTEN BY: ROBERT As we enter a new year, we tend to preoccupy ourselves with resolutions and the ways in which the next twelve months will be different from the last. Our considerations are split between reflecting on the past and contemplation of the future, probably more so than any other time of year. With that in mind, what did 2025 inform us about pop culture? For one, movies for kids are the cash cow kings, especially internationally, as Ne Zha 2 , Zootopia 2 , Lilo & Stitch , and A Minecraft Movie were all in the top five in terms of worldwide box office. Also, no matter the impact of his written works, Hollywood will always find ways to adapt Stephen King properties for big and small screens alike, with six such projects releasing over the past year and nine additional ones on the horizon. Combining those two observations, as well as the indication that a new Disney+ special is going to stream in 2026 for the 50th anniversary of The Muppet Show , I wanted to tackle an exercise born from and existing as an integral fabric within Internet culture. So, let’s be mindful of the sewers and mysterious fogs, try to be nice to any outcast coworkers or classmates, and read the warnings for any unwanted toys as we look at the best Stephen King adaptations to receive the “Muppet treatment.” Of note, my approach will replace all actors within a given work of fiction with Muppets except for one, leaving a singular human, much like Michael Caine’s Ebenezer Scrooge in The Muppet Christmas Carol . 5. CUJO Synopsis: Cujo, a friendly St. Bernard, contracts rabies and conducts a reign of terror on an American farm Right off the bat, pun intended, we are stretching the parameters of this article’s thesis by spotlighting Cujo since the real star of the movie is the St. Bernard. Thus, he must remain in his current form; however, every human character that falls victim to Cujo's rabid rampage could be switched out for puppets so the audience could see the stuffing fly! Granted, it is a smaller cast, but most of them, especially the fodder for Cujo’s maiming, are caricatures with less depth and soul than Jim Henson’s creations anyways, so nothing is lost in translation. Imagine the Trenton family, comprised of Kermit, Ms. Piggy, and Robin, doing their best to survive a killer dog while side Muppets like Sweetums and Bobo the Bear, given their closer relation to mindless creatures, serve as the mechanic and alcoholic neighbor who first notice Cujo’s transformation and are powerless against him. Even though in the realm of Muppets they are huge, they would pale in comparison to a 200-pound murder machine. You might think it out of place for Muppets to be tortured in such a fashion, but their resemblance to stuffed animals would make the horror show a little more palatable, a little zanier, and it could teach kids about who to trust with the health of their car in a less harrowing way. If you have a dog, you know what wanton destruction of property looks like, so why not be entertained as it is happening? 4. THE LONG WALK Synopsis: A group of teenage boys compete in an annual contest known as "The Long Walk," in which they must maintain a certain walking speed or get shot. Given the crowded history of King-inspired media, The Long Walk ’s inclusion might reek of recency bias, but beneath the layers of darkness and despair is a feeling of hopefulness for the competitors. Muppet stories are generally inspirational, and while the conflicts within those stories aren’t quite as violent, they do test their mettle and push them to their limits. Originally, I considered Cooper Hoffman’s Raymond Garraty as the lone human, thinking about him juxtapositioned with either two- or eight-foot-tall walkers, trying to prop him up to keep him alive or ragging on the guys defecating in the streets. Then, I remembered there is an actor involved with extensive scene experience alongside Jim Henson creations. Picture the long and lonesome highways populated by only the fifty men trying to earn generational wealth in an impoverished future. Now picture them as puppets being screamed at by Mark Hamill’s The Major to “flex that sac.” I mean, if he can help make us weep at Yoda’s passing, he can certainly inspire the Muppets to hate him enough to want him dead. 3. CARRIE Synopsis: Carrie White — a shy, friendless teenage girl who is sheltered by her domineering, religious mother — unleashes her telekinetic powers after being humiliated by her classmates at her senior prom. We have seen the Muppets as babies, and we have seen them as “adults” in the workforce, but a gap has always existed between those periods. We’ve never seen them as adolescents. Enter Carrie , where Sissy Spacek stays in her role as Carrie White, but her peers, her bullies, and most importantly, her mom, are now taken over by felted costars. I could see Dr. Teeth and the Electric Mayhem performing at the prom prior to the splashing of the pig’s blood (no harm to Ms. Piggy or Link Hogthrob to set up that prank, mind you). You could also have the Penguins or Whatnots in the background as victims of Carrie’s rampage. Perhaps Camilla the Chicken is Miss Collins, who unfortunately meets her demise at the hands of a falling backboard. Whatever assignments you foresee for rounding out the cast, it would be satisfying to see Carrie show no mercy to her adversaries as she crushes, electrocutes, and burns out the entirety of the school, but in this case, with less gore. Also, seeing the Muppets navigate a Brian De Palma universe would be worth the price of admission alone. “Jesus loves everybody, Momma” …especially the Muppets. 2. THE RUNNING MAN Synopsis: In a future dystopian America, a wrongfully accused and convicted policeman gets his shot at freedom when he's forced to participate in a TV game show where convicts called Runners must battle killers for their freedom. To this point, the main crux of my choices has been centered around the terrifying situations the Muppets would occupy in these hypothetical updates to lighten the material. For 1987’s The Running Man , it centers entirely on the sole human participant. Looking back through history, there has been very little crossover between the Muppets and Arnold Schwarzenegger, which seems like an outright crime. On Sesame Street , they did some skits and fake characters based on Arnie, but beyond some mild talk show appearances, there weren’t occasions for them to play off one another. Everything about this matchup is the zenith of what you want: the physical disparity, the vacillation of Arnie between his moods of serious action star and goofy action star, and his one-liners coalescing perfectly in a puppet movie, especially against Fozzie Bear as a sinister Killian, for instance. From the Muppet side, getting to see them use the media for scaremongering as a real insight into the future is how evil puppets should be utilized, perhaps with Statler and Waldorf providing their effervescent commentary and then getting arrested by secret police. Finally, the Swedish Chef ending up as a Stalker against Arnie and his fellow Runners, watching him come to an end while singing about cutting up chickens is why 1980’s action satires exist. We can fight if you disagree. 1. IT Synopsis: In 1960, seven pre-teen outcasts fight an evil demon who poses as the child-killing clown, Pennywise. Thirty years later, they reunite to stop the demon once and for all when it returns to their hometown. Clowns vs. Muppets is a Godzilla vs. Kong-level battle that a reimagining of It can establish for a willing viewing public. Every prior choice on this list has relied on an element of carnage against stuffed toys, but Pennywise’s brutality and comically deranged gore would kick that up to an epic level. Now, there are a few iterations of It , including the recent television series Welcome to Derry , all of which feature our favorite murderous clown and would satisfy the need to see our favorite puppets in his clutches. However, one of our Pennywise portrayers was instrumental in the popularity of another iconic Muppet property: Muppet Treasure Island . No shade to Bill Skarsgård, who has the range to play Pennywise opposite puppets and be silly and sinister, but Tim Curry in the original miniseries could do no wrong. Also, as has been proven through a long career, Curry can sing and dance while being as scary or as goofy as called for in any situation. Finally, the Muppets just feel more appropriate for a 1990s miniseries than the more-cinematic version of Derry as played out in the 2017 film. Even though the Muppets have had some success in the 21st century, their feel of nostalgia is more at home with being on network television.

REACHER: SEASON ONE Starring: Alan Ritchson, Malcolm Goodwin, Willa Fitzgerald, Chris Webster, Maria Sten, Martin Roach, Currie Graham, and Bruce McGill Creator: Nick Santora QUENTIN Generally speaking, Reacher is a standard “solve the murder” show. However, the cast chemistry, literally bone-crunching fight scenes, and dry charisma of Alan Ritchson elevate the predictable story to something that is a lot more fun than it should be. Maybe I just had low expectations. I expected a series like Bosch , a show I always saw ads for while never meeting a person who actually watched it. But what I got was a show like Banshee , a brutal (yet still humorous) under-the-radar show that I can’t wait to turn people on to as we wait for next season. NICK As someone who remembers Alan Ritchson as blockhead linebacker Thad Castle from Blue Mountain State , his casting as Jack Reacher was quite a surprise. However, he manages to bring a stoic mercenary edge to the character that hearkens back to the heyday of 80s action films. This persona is matched with some hard-hitting violence that can come out of nowhere and hit you with a pure rush of adrenaline, but those scenes don’t come frequently enough. It’s almost The Punisher -lite. That said, it’s an easy watch that makes for some good shut-your-brain-off entertainment while doing the character justice.

FROM: SEASON TWO Starring: Harold Perrineau, Catalina Sandino Moreno, Eion Bailey, David Alpay, Elizabeth Saunders, Scott McCord, Ricky He, Chloe Van Landschoot, Pegah Ghafoori, Corteon Moore, Hannah Cheramy, Simon Webster, Avery Konrad, Elizabeth Moy, Deborah Grover, Angela Moore, Kaelen Ohm, A.J. Simmons, and Nathan D. Simmons Creator: John Griffin QUENTIN In my review of Season One, I called From the next Lost . For better or worse, that remains true in Season Two because, much like Lost , it’s starting to pile mysteries, lore, and new characters on top of each other without answering many questions. That’s not necessarily a bad thing if (big IF) they eventually pay off, but it certainly makes this season less propulsive than the first. A few character-driven subplots that aren’t developed enough and abandoned storylines from last season certainly don’t help either. That said, the finale once again sets up a compelling future for the series, and I remain fully engaged.

ABBOTT ELEMENTARY: SEASON FOUR Starring: Quinta Brunson, Tyler James Williams, Sheryl Lee Ralph, Janelle James, Lisa Ann Walter, Chris Perfetti, and William Stanford Davis Creator: Quinta Brunson AMARÚ Y’all keep coming back here like my opinion is going to change on Abbott Elementary . I think it’s officially time to declare what we all already know: this show belongs amongst the all-time great television comedies. Yes, being a Black teacher helps, but isn’t connection what fuels the love for entertainment? I will say, I’m not a big fan of mockumentaries, so the fact that Abbott continues to make me laugh, cry, and feel warm and fuzzy while teaching life lessons along the way is astounding. At this rate, I’m guessing my Season Five review will only be five words. I’ll let you ponder that one. KATIE I loved the first three seasons of Abbott Elementary, but this season is definitely the weakest so far. I still love the characters and the cast is faultless, but the humour was very hit or miss, and I found the focus on guest stars frustrating. It meandered until the last few episodes of the season, which managed to recapture its previous heart-warming charm; however, overall, I can count the episodes I found memorable on one hand. I’m glad that it left things on a high, but I really hope the next season is stronger and more consistent. Check out our reviews for Season Three HERE .

THE LOWDOWN: SEASON ONE Starring: Ethan Hawke, Keith David, Kaniehtiio Horn, Ryan Kiera Armstrong, Jeanne Tripplehorn, Kyle MacLachlan, Scott Shepherd, Macon Blair, Tim Blake Nelson, Tracy Letts, Killer Mike, Cody Lightning, Rafael Casal, Paul Sparks, Peter Dinklage, Graham Greene, Tisha Campbell, and Michael Hitchcock Creator: Sterlin Harjo QUENTIN Though not perfect, mostly due to a central mystery that often falls to the wayside, The Lowdown still works extremely well as a shaggy dog story, effortlessly coasting on a blend of dingy neo-noir vibes that recall Thomas Pynchon, Elmore Leonard, and The Coen Brothers. There are full-throated homages to Inherent Vice , Jackie Brown , and The Big Lebowski (among others), all of which are convincingly brought home by Ethan Hawke’s lived-in performance. The parade of quirky side characters — played by talents ranging from Killer Mike to Peter Dinklage — and the terrific 70s Americana soundtrack only add to the pulpy fun. ROBERT FX has a successful history of producing compelling crime comedies, starting with the underseen Terriers through the prolonged run of Fargo . The Lowdown is the latest, worthy addition to the portfolio, with Ethan Hawke channeling his best combination of The Dude mixed with Fletch as our protagonist investigator. He must deal with power hungry politicians, Southern Belle femme fatales, and encroaching step-parents as he struggles to prove that the truth matters above all else. The acting is superb, the soundtrack is intoxicating, and the visual tapestry of Oklahoman urban griminess adjacent to prairie stillness is striking. Forget it, Jake, it’s chicken-fried Chinatown . AMARÚ Ethan Hawke is having a helluva year playing charming sad sacks, but instead of the mesmerizingly sad lyricist in Blue Moon , he exemplifies the words that Killer Mike so eloquently put together in episode one of The Lowdown : “A white man who cares, the saddest of the bunch.” The show mirrors his character’s wild brand of sadness. Flawed, unpredictable, funny yet mind-blowingly confounding, socially charged, and chaotic, all of which makes for both an entertaining and cautionary tale. Hawke, alongside a star-studded “that person” cast, delivers on a tumultuously fun first season.

YOU: SEASON FIVE Starring: Penn Badgley, Charlotte Ritchie, Griffin Matthews, Anna Camp, Madeline Brewer, and Frankie DeMaio Creators: Greg Berlanti and Sera Gamble QUENTIN With its fifth and final season, Netflix’s You delivers its best offering since Season Two. The fun, almost self-aware campiness pairs perfectly with the genuinely surprising twists and turns, all of which is held together by Penn Badgley’s terrific performance and even more captivating inner monologue (Anna Camp is great in a dual role, too). The showrunners also weave in relevant commentary on the internet’s romanticizing of Joe Goldberg (Badgley), gaslighting, and how influencer culture can sway public opinion. I won’t say it’s a perfect final season of television because there are some pacing issues, but it works perfectly for You ’s brand of addictive non-prestige prestige. ROBERT The final season of You sees protagonist Joe (Penn Badgley) returned to New York after jaunts in California and Europe, but it seems as if he couldn’t really go home again, not like in the first season. After so many deaths and changes of identities, the raindrops dodged in Season Five and the construct of how Joe manages his elusiveness is too far-fetched. Even within the single episodes, we see Joe go from master criminal, ala Walter White, to boneheaded, overly emotional loser and back again. If you like callbacks and Easter eggs, you will be delighted, but you will also find no rooting interest in any character by You ’s conclusion. Check out our reviews for Season Four HERE .