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WINNING TIME: THE RISE OF THE LAKERS DYNASTY: SEASON ONE Starring: John C. Reilly, Quincy Isaiah, Jason Clarke, Sally Field, Adrien Brody, Gaby Hoffmann, Jason Segel, Hadley Robinson, DeVaughn Nixon, Tracy Letts, Solomon Hughes and Tamera Tomakili Creators: Max Borenstein and Jim Hecht QUENTIN Winning Time has been mired in controversy over misrepresentations and historical inaccuracies, but here’s the thing: I could not care less. This insider look at the rise of the L.A. Lakers soars on the back of its flawless casting, 70s pastiche, and stylistic flourishes (e.g., breaking the fourth wall). Truth be told, I don’t even like the NBA (NCAA, baby!), but I was increasingly captivated by this series every week. The Any Given Sunday meets The Last Dance approach works fantastically, especially in grounding some of the wilder elements, and it makes Winning Time perhaps the best new series of 2022 so far. ADRIANO Winning Time is a slam dunk. Some of the earlier episodes struggle to get going, but it finds its footing by the fourth episode. As someone who isn't a sports fan at all, I was captivated by the details of the Showtime Lakers’ first year. The style, courtesy of producer/premiere director Adam McKay, helps keep even the smaller moments entertaining and fascinating. The cast list makes for one of my favorite ensembles in years, and the series blends comedy with drama pretty perfectly. This show is definitely a winner and I can’t wait for Season Two.

AMERICAN GIGOLO: SEASON ONE Starring: Jon Bernthal, Gabriel LaBelle, Gretchen Mol, Lizzie Brocheré, Leland Orser, and Rosie O’Donnell Creator: David Hollander QUENTIN Despite Jon Bernthal’s committed, if overly muted, performance, American Gigolo is too convoluted in its murder mystery (not to mention the contrived conveniences) and not sleazy enough in its more lurid moments to work on either level. Honestly, it’s just a weak-ass murder show with Gigolo branding and Blondie’s “Call Me” slapped on it. Plus, some truly off-the-wall casting, including Wayne Brady as a gigolo-slash-pimp and Rosie O’Donnell as a deadpan homicide detective, makes the series feel like even more of an odd duck. It’s not unwatchable, but there are so many better things out there, including the 1980 movie on which the series is based.

THE WONDERLAND MASSACRE & THE SECRET HISTORY OF HOLLYWOOD Starring: Michael Connelly and Scott Thorson Creator: Michael Connelly QUENTIN For fans of Hollywood legends and true crime, The Wonderland Massacre & the Secret History of Hollywood is a captivating docuseries. Going in, I knew the bare bones about the Wonderland murders, mostly from 2003’s Wonderland starring Val Kilmer, but these four episodes delve much deeper into the case, connecting the brutal John Holmes-linked murders to Pablo Escobar, Liberace, John Belushi, and more. Author Michael Connelly, best known for the Bosch and Lincoln Lawyer books, is your guide, and he asks interesting questions of his subjects because he also is deeply fascinated by the tale. His fascination is contagious, making for a worthwhile experience.

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.

PLATONIC: SEASON TWO Starring: Rose Byrne, Seth Rogen, Luke Macfarlane, and Carla Gallo Creators: Nicholas Stoller and Francesca Delbanco QUENTIN In its second season, Seth Rogen’s other Apple series, Platonic , solidifies itself as a passably easy hangout show even though it’s not doing anything terribly interesting. Let’s call it pleasant — nothing more, nothing less. Sure, it’s occasionally amusing, but never laugh-out-loud funny (one running joke is particularly lifeless). Plus, oddly, Will (Rogen) isn’t given much of an arc, leaving a show that probably would be stronger if it focused solely on the changing dynamic of Sylvia’s (Rose Byrne) marriage. Still, the chemistry between Rogen and Byrne is good enough that one rarely gets bored despite a weak and rushed storyline that goes on for too many episodes. AMARÚ I continuously forget how talented Rose Byrne is when it comes to awkward comedy (amongst other things), but going back to Platonic for Season Two quickly reminded me how she steals the show from awkward king Seth Rogen. Their back-and-forth is as funny and relatable as ever, but what made this season more memorable is the supporting casts’ increased usage (especially Luke Macfarlane), highlighting how the titular relationships’ volatile dynamic dramatically affects those around them. The comedy is a consistent simmer but, like Rogen, takes a small backseat to tension, ultimately finding an entertainingly addictive balance between laughs and stakes. ROBERT Much to my surprise, after a satisfying and coherent end to Season One of Platonic , Nicholas Stoller and his creative team chart a path in Season Two that does a real service for the characters, complete with shifts in dynamics and relationships that are compulsory to an evolving story. Seth Rogen’s schtick of playing a competent but bumbling buffoon who stumbles all over the screen brought me everlasting joy, and it pairs well with Rose Byrne’s absurdist energy. You can drink this brewed concoction with a toothy smile and order another round, hangover be damned. NICK Even though I liked Platonic : Season One, I wasn’t eagerly anticipating Season Two. It was a series carried by the chemistry between Rose Byrne (Sylvia) and Seth Rogen (Will), and the same can be said about this season. I maintain my interest in the characters, and it’s nice seeing Luke Macfarlane (Charlie) given a bigger role, but this just isn’t a series I can get immersed in; as my fellow writer Quentin would call it, it's the series equivalent of a "nice beach read." Two seasons in, I wish the comedy hit harder, but it does just enough to bring me back for a Season Three. Check out our reviews for Season One HERE .

Previous Next September 18, 2025 WRITTEN BY: QUENTIN It’s film fest season, and I’m back at it! While covering Fantasy Filmfest 39, I watched 30 movies in eight days, many of which were also part of the film programs at Berlin, Cannes, Venice, and Toronto International Film Festivals. That just goes to show that, although it might not get much recognition outside of Germany, this is a banger of a film festival, especially for genre fans. Starting in 1987, Fantasy Filmfest is an annual international film festival that is (mostly) simultaneously held across seven major German cities in September, focusing on thriller, horror, sci-fi, and more. In addition to the core festival, there is also Fantasy Filmfest: White Nights (a two-day festival in February) and Fantasy Filmfest: Nights (a four-day festival in April). Check out the festival’s mission statement: Pairing intense horror films with breathtaking thrillers, obscure science-fiction tales, and heartfelt dramas, Fantasy Filmfest remains THE alternative to superhero heavy mainstream cinema. At Fantasy Filmfest, fantasy does not mean dragons, elves, and magical forests, but stands for creativity, innovation, and absurdity. Fantasy Filmfest celebrates the oddball, the obnoxious, and the challenging with its program of bold and striking films. It features all those quiet, loud, and quirky nuances that are often overlooked by the profit-oriented film industry. Full of (fake) blood, sweat, and tears, Fantasy Filmfest simply stands for one thing: films that are fantastic! Over the years, Fantasy Filmfest has been lucky enough to debut some bonafide classics, including the world premiere of The Boondock Saints , the German premieres of Final Destination and Pulp Fiction , and the European premiere of Saw . Did Fantasy Filmfest show any future classics this year? Read through my ranked list and find out! 30. MAN FINDS TAPE Everyone has their broadly biased loves and hates when it comes to movies. Some people love all heist movies; some people hate all horror movies — that’s just the way it is. With that in mind, I know that this review of Man Finds Tape is extremely unfair because a few of my broadly biased hates are found footage, fake documentaries, and using “screen videos” from a cell phone. Man Finds Tape uses every single one of those filmmaking approaches, and despite being just 84 minutes, it felt like forever. I legitimately almost walked out. 29. NIGHTMARE BUGS Truth be told, I probably should have skipped Nightmare Bugs . However, when covering a film festival, you try to see as much as possible in the name of discovery, even if you know it won’t be for you. As it stands, I’ve long known anime isn’t for me, so this is yet another unfair review. It’s fine, I guess? I don’t know. The artwork, especially on the monsters, is really well done, but as much as I tried, I just couldn’t get myself invested in the story. Will true anime fans enjoy it? Maybe? I honestly have no idea. Sorry, but I’m of no help here. 28. HER WILL BE DONE Her Will be Done plays a little like if Call Me by Your Name was a Polish folk horror, with a dash of Stephen King’s Carrie thrown in for good measure. I have no doubt that there is an audience for this movie, but I’m not it since it’s another farmhouse horror, a la The Witch , that relies more on atmosphere, production design, and moody vibes than actual story. It’s just a slog of a movie that I struggled to stay awake during. However, I fully admit that could be a “me” thing since I seem to have this issue with a lot of similar movies. Maybe judge this one for yourself. 27. THE THINGS YOU KILL I’ve never been a big fan of director David Lynch, so when things are described as Lynchian, it’s not exactly a selling point. Furthermore, Lynchian surrealism is hard enough to understand in English, so watching it through subtitles can make it doubly confusing. The Things You Kill is exactly that — an extremely slow, very Lynchian tale about a man dealing with generational inner darkness and feelings of inadequacy in a patriarchal society. It’s the type of movie whose meaning I needed to clarify after the fact, and honestly, the explanation I found on Google was far more interesting than the actual movie I had just watched. 26. CRUSHED If one were to check out Crushed based solely on the appealing, almost family-friendly poster, that person would be in for a rude awakening because the subject matter at play here, which includes pedophilia and cruelty to animals, makes for an extremely uncomfortable viewing experience. And while I understand that showing the ultimate depths of humanity’s darkness is meant to really drive home Pastor Daniel’s (Steve Oram) crisis of faith, as a non-religious person, I just couldn’t relate to or invest myself in his inner turmoil, leaving me with the depravity but no thought-provoking moral conflict. 25. ODYSSEY Odyssey is clearly going for something akin to Uncut Gems , but it struggles to maintain the audience’s interest because it fails to craft a compelling central character or tangible stakes. You’re essentially watching an insecure but egotistical real estate agent have the worst week of her life, but there is no true intrigue to the undercooked issues she is dealing with. So, by the time the out-of-nowhere (albeit well-done) finale of violence starts, you’re already checked out. Credit given where credit is due, though: Polly Maberly gives a great lead performance because I hated her character. 24. NO ONE WILL KNOW Movies about ill-gained lottery tickets aren’t new, with Finder’s Fee and Your Lucky Day both coming to mind. Unfortunately, if you’ve seen either of those two movies, No One Will Know doesn’t offer much of a fresh perspective. Underwritten characters blend into a confusing story structure built on alternate viewpoints of single incidents and cutaway scenes depicting the various lies being ginning up. Granted, maybe something was lost in the subtitles, but the repetitive looping aspect of the narrative is extremely frustrating, even preventing the viewer from investing in the most basic “what would you do?” aspect of a story like this. 23. DOG OF GOD If you go into Dog of God expecting the next Flow since both are animated films from Latvia, let me stop you right there. This movie could not be more different, with the only shared aspect between the two being beautiful animation (rotoscoping, in this instance). That aside, Dog of God is sure to be divisive. Hell, I’m internally divided. On one hand, I have no idea what I just watched or the point of the story. On the other hand, I was too captivated by the borderline pornographic imagery on screen to look away. It’s a scene, man. 22. SWORD OF VENGEANCE When your poster advertises “ Mad Max meets Highlander ,” you’re kinda setting yourself up for failure because that is an almost impossible hype line to live up to. Sadly, Sword of Vengeance does indeed fail to rise to the moment. Don’t get me wrong, I can see where the comparisons make some sense, but they are extremely superficial and mostly applicable to the world-building done here. Otherwise, Vengeance lacks exciting action, charismatic characters, or a compelling narrative. If you squint, you can see a bit of the two classics it was compared to, but it’s Fury Road with no fury and Highlander with paltry highs. 21. THE HOME (HEMMET) If not for Anki Lidén’s performance, I’m not sure much would be memorable about The Home (not the same as The Home with Pete Davidson, see below). Overall, this is a by-the-book possession flick blended with a story about dementia and abuse. However, writer-director Mattias Johansson Skoglund never links these ideas in a way that is wholly satisfying, and the things happening on screen don’t always make sense; or worse, they are unnecessary diversions. On the plus side, Skoglund does a solid job of creating an unsettling atmosphere (even more than he establishes legitimate scares, frankly), although that could be on me since I think old people are creepy. 20. ROQIA Of all the horror subgenres, exorcisms are the most tired. With that in mind, I appreciate that director Yanis Koussim does something rather fresh with the idea. By using possession to explore Islamic radicalism instead of the typical Catholic good v. demonic evil story, we are given a unique perspective with cultural relevance, even if the film ultimately succumbs to usual tropes. That said, while there is an unnerving atmosphere throughout, it’s painfully slow, which surely isn’t helped by the subtitles. One prayer is constantly repeated by the exorcist, so it became so much redundant reading that it completely pulled me out of the experience. 19. NINA Nina , a Spanish thriller, does a terrific job of evoking the atmosphere of neo-noir and European westerns of the 70s through its score, production value, and set and costume designs. The performances are no slouch either, especially Patricia López Arnaiz. However, the pacing is a bit too languid to truly capture the audience in the early going. In fact, I was never fully engaged until a reveal around the midway point, which results in everything that came before feeling like an unnecessary prologue. Following said reveal, the film re-establishes its purpose, causing viewers to lean forward in their seats with more interest. Sadly, it’s too little, too late. 18. THE HOME While The Home has plenty of gore, semi-effective jump scares, and an excellent symphony of violence in the final 10 minutes, it overall falters due to extremely sluggish pacing and a general feeling of cheapness. I’m honestly surprised this wasn’t released directly to Shudder, but I guess Miramax figured Pete Davidson was a box office draw. Speaking of Davidson, he’s not exactly miscast, but his character here is basically the same as his characters in Big Time Adolescence and The King of Staten Island , which makes this performance little more than adequate for horror. Overall, this might have worked better as an episode of Tales from the Crypt . 17. WE BURY THE DEAD We Bury the Dead does a decent job of creating a zombie world with genuinely fresh rules, but writer-director Zak Hilditch buries those rules under the same ol’ zombie movie tropes we’ve seen time and time again. He also doesn’t flesh out Ava (Daisy Ridley) enough to truly hook the viewer, leaving her journey mostly superficial and wavetop to the point where her climactic moment — the entire point of the story — comes and goes without much catharsis or resolution. Hilditch does well as the director, demonstrating a good eye and getting great performances from his cast, but his script sinks the ship a bit. 16. DEATHSTALKER As a big fan of Steven Kostanski’s 80s tributes Psycho Goreman and Frankie Freako , not to mention having an affinity for old-school sword-and-sorcery movies, I was super excited for Deathstalker . On the surface, it has everything I’d want in a modern homage to movies like Krull : terrific practical effects, lovingly shoddy visual effects, fantastic creature design, and self-aware weirdness. So, I’m puzzled as to why I found it so flat and (mostly) lacking in fun. It’s almost like Kostanski is showing too much reverence for the genre, so it veers into being too self-serious. Perhaps this is an expectations problem, and a second viewing is needed. 16. OTHER Other , a familiar tale about a woman returning to the ancestral home after the death of a parent to discover strange occurrences, manages to keep viewers on their toes by never showing its hand until the very end. Director David Moreau uses a plethora of tricks — some good, some less so — to keep the mystery pumping, most notably by keeping the things that go bump in the night relegated to the shadows and out-of-focus background. Unfortunately, once the movie flips over its cards, it does so with such inelegance that it all ends up feeling a bit silly. 14. HONEY BUNCH While there aren’t many scares in Honey Bunch , the beautifully mesmerizing 70s pastiche, to include some tremendous needle drops, helped keep me engaged even through the film’s slower moments. It certainly has horror-ish elements, but it’s more like directors Madeleine Sims-Fewer and Dusty Mancinelli first crafted an oddball love story about what it means to be devoted to one’s partner, then very lightly sprinkled it with some suspense-thriller dust. Honey Bunch is ultimately better from the macro view once all is said and done than the micro view while you’re in it, but its dreamlike qualities had me entranced, nonetheless. Strangely, its whole vibe reminded me of The Lobster . 13. OMNISCIENT READER: THE PROPHECY If you put Scott Pilgrim vs. the World , Squid Game , and a bit of Pixels into a blender, you’d end up with something close to Omniscient Reader: The Prophecy , which is a lot of fun until it really isn’t. Despite the hit-and-miss CGI, an approach that skews a tad younger than I’d like, and some too-on-the-nose messaging, each developing video game-like scenario creates genuine moments of tension and decent action. However, the third act goes off the rails by mostly tossing aside all the elements that made the story intriguing in favor of throw-it-at-the-wall action noise and poor explanations. 12. EXIT 8 Unbeknownst to me, Exit 8 is based on a video game. I can 100 percent see how the game — a psychological horror walking simulator — would be equally addictive and frustrating, especially in VR. In fact, the movie adaptation does a great job of capturing the overall feeling of a VR game, particularly with the shot framing. However, as a non-participatory viewer, it becomes monotonous rather quickly despite director Genki Kawamura doing his best to switch things up around the halfway point. Still, Exit 8 is mostly effective, flaws and all, but it might have been better as an episode of an anthology series. 11. SWEETNESS Sweetness is essentially a modern update to Stephen King’s Misery , specifically speaking on the current era of squads like Swifties and The BeyHive, where pop stars have reached near God-like status complete with faithful and extremely protective followings. As such, Sweetness naturally has moments of young adult, Gen Z cringe; however, they are offset by a willingness to go much darker than one might initially expect. For the most part, the movie — built on a tight-rope performance from young Kate Hallett — works, aside from the ending, which delivers a message that I don’t ultimately love. 10. MARCO Marco is almost two movies in one. The first is an over-the-top action-revenge movie that is so ludicrously absurd that it feels like an SNL skit at times. I mean that in the best way possible. The violence, music, choreography, and stylish direction are the perfect amount of Bollywood bonkers. That movie is about 60 minutes long. The second movie — the one that surrounds the first one — is an additional 90 minutes of over-written and unnecessary exposition. Overall, Marco is like Kill meets RRR , and despite me wishing it was shorter, the ridiculous action sequences are just too damn entertaining. 9. BAMBOO REVENGE Thematically similar to movies like Violation and Promising Young Woman , Bamboo Revenge is an imperfect but tight French thriller. There are a few moments where you need to maybe overlook a small detail to simply let the story unfold, but those moments don’t take away from the intriguing mystery at the film’s core. That is particularly true since there really isn’t time to get bogged down in the minutia given the brisk 87-minute runtime. Though I had my predictions — some right, some wrong — I was fully invested from beginning to end, and for a foreign indie thriller this lean, what more can you ask for? 8. BONE LAKE Bone Lake generally lives up to the expectations set by the posters and the fact that it’s a sex-driven horror thriller with a puntastic title, delivering suspense, thrills, and laughs throughout its brisk runtime. The tension, sexual and otherwise, is palpable, and while there certainly is a feeling of erotic-thriller hotness, director Mercedes Bryce Morgan manages to create that atmosphere without being gratuitous (opening scene aside). Personally, I wouldn’t have minded if it went a little harder and got a little steamier, but I can’t complain with what I was ultimately given. Bone Lake is a wickedly fun ride. 7. HI-FIVE Seemingly trying to recapture the vibe of early 2000s Marvel, Hi-Five is a Korean throwback to fun and funny superhero comedies like Tim Story’s Fantastic Four . Suffice it to say, it’s silly, but only in the most charming ways. And the special effects aren’t great, but that adds to the nostalgic charm. More importantly, though, the characters are engaging, the humor works (even through subtitles), and the soundtrack is full of 80s bangers. Look, I get comparing Hi-Five to Fantastic Four might not be a selling point, but it hearkens back to when superhero movies were a mostly light-hearted good time. I’d watch a sequel. 6. SLANTED Skillfully blending Mean Girls with The Substance , Slanted is a clever satire about internalized racism and self-acceptance in the face of society’s treatment of minorities. It is, admittedly, a little too-on-the-nose and heavy-handed in its messaging; however, considering this likely was made for a teen audience, that obviousness can easily be forgiven because of how funny, sharp, somewhat heartbreaking, and perhaps most importantly, timely it all is. In her feature debut, writer-director Amy Wang announces herself as someone to keep an eye on, and I would love to see what she does with something a little more grown up. 5. WELCOME HOME BABY Though it may be yet another movie about a woman who must return to the ancestral home following the death of a parent only to discover strange occurrences, I immediately bought into what Welcome Home Baby was selling. That is mostly thanks to a tremendous lead performance from Julia Franz Richter, who effortlessly pulls you into her unraveling as unexplainable happenings and creepy interactions continue to mount. Unfortunately, I can’t really discuss the overall themes and the metaphor at play without getting into spoiler territory, and this absolutely is a movie you should walk into blind. I’ll just say… Welcome Home Baby was a surprising and welcome discovery. 4. THE PIANO ACCIDENT With The Piano Accident , director Quentin Dupieux has crafted a brilliant satire on the emptiness of internet fame, particularly as it relates to the Jackass -style videos that barter self-harm for celebrity status. But as great as his script is, it all hangs on the performance of Adèle Exarchopoulos as Magalie, an entitled, egotistical, and despicable human being that you can’t help but be drawn to and even feel sympathy for. Admittedly, I wonder to what degree hearing her awfulness in beautiful French softens her edges a bit, but the irreverently light-hearted tone that Dupieux peddles creates the same effect. This is a black comedy winner. 3. THE TOXIC AVENGER This remake of The Toxic Avenger is a loving homage and tribute to Troma Entertainment and weird 80s B-movies (including the original The Toxic Avenger , obviously) much in the way that Black Dynamite is a love letter to blaxploitation movies of the 70s. It features all the hallmarks of the era’s cult classics: hilarious absurdity, buckets of blood and gore, a terrifically warped charm, and unparalleled self-awareness. The entire cast, but especially Kevin Bacon and Elijah Wood, know exactly what kind of movie they are making, and if director Macon Blair can maintain this level of commitment in potential sequels, I’ll watch every goofy-ass chapter. 2. CODE 3 Here's something I didn’t expect to have on my 2025 movie Bingo card: Code 3 is a gem of a movie and one of the year’s biggest surprises. Despite being marketed as a straight comedy, this is anything but. Yes, there are dark laughs, but only in the way that one must laugh in the face of tragedy just to get through the day. Otherwise, this is an honest and harrowing tribute to paramedics and a scathing indictment of the American healthcare system. It’s heartfelt, heartbreaking, and surprisingly moving, all the more shocking given the film’s overly photoshopped travesty of a poster. 1. GOOD BOY Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy…

HUMAN RESOURCES: SEASON ONE Starring: Aidy Bryant, Randall Park, Keke Palmer, David Thewlis, Brandon Kyle Goodman, Maya Rudolph, and Nick Kroll Creators: Kelly Galuska, Nick Kroll, Andrew Goldberg, Mark Levin, and Jennifer Flackett QUENTIN In some regards, this feels like a somewhat pointless review to write. If you love Big Mouth (or don’t), then you’ll love Human Resources (or won’t). End of story. It takes the same depraved-raunchiness-with-heart approach that Big Mouth does, but instead focuses it on more adult-oriented topics like postpartum depression, death, and alcoholism. It’s hilariously lewd, but also remarkably brilliant in the way it tackles these issues. It’s not likely to convert any non-fans of the core series, but it’s more of the same excellence for those of us already on board with Hormone Monsters, Lovebugs, Shame Wizards, and a parade of dick jokes.

THE UNDERGROUND RAILROAD Starring: Thuso Mbedu, Chase Dillon, Joel Edgerton, Aaron Pierre, Amber Gray, William Jackson Harper, Mychal-Bella Bowman, Kraig Dane, Sheila Atim, Lucius Baston, Kylee D. Allen, Jeff Pope Creator: Barry Jenkins JACOB Barry Jenkins has found his magnum opus in The Underground Railroad . It may seem like hyperbole to claim the director of Moonlight and If Beale Street Could Talk can reach another level in his storytelling, but there is no mistaking it. All the technical elements of those films are elevated here, including the immaculate cinematography by James Laxton and perfect score by Nicholas Britell. Yet again, Jenkins has made a phenomenal discovery in lead Thuso Mbedu, whose performance aches with the fury of how slavery's stain on America is still plainly visible - a feeling that permeates the entire series.

THE OUTLAWS: SEASON ONE Starring: Christopher Walken, Stephen Merchant, Rhianne Barreto, Gamba Cole, Darren Boyd, Clare Perkins, Eleanor Tomlinson, and Jessica Gunning Created by: Stephen Merchant and Elgin James QUENTIN As a “crime thriller comedy series,” The Outlaws tries to do a little bit of everything with the story without fully hitting on anything. On top of the main (and somewhat unfocused) “bag of money” plot, it also tries to touch on race, political activism, familial dynamics, the price of fame, loneliness, and a budding romance. However, if you ignore the story beats for the development of the characters, each of which have their own thing going on, there is charming amusement to be found in these six episodes, which is further helped along by a delightful Christopher Walken and dryly hilarious Stephen Merchant.

GASLIT Starring: Julia Roberts, Sean Penn, Dan Stevens, Betty Gilpin, Shea Whigham, and Darby Camp Creator: Robbie Pickering QUENTIN Despite Gaslit being painted as Martha Mitchell’s (Julia Roberts) story, it’s more of a satirical farce about the entire Watergate scandal. If anything, John Dean (Dan Stevens) is the main character. Either way, while it starts off strong, focusing on the bumbling idiots behind Watergate in a way that is similar to the Coen brothers’ The Ladykillers , it loses momentum as it starts to take itself seriously in the later episodes. With a cast this strong though (Shea Whigham is particularly great as G. Gordon Liddy), it’s engaging enough to hold your interest, even if it’s not something you would ever rave about.

THE DIPLOMAT: SEASON ONE Starring: Keri Russell, Rufus Sewell, David Gyasi, Ali Ahn, Rory Kinnear, and Ato Essandoh Creator: Debora Cahn QUENTIN Falling somewhere between The West Wing and the latter seasons of Homeland , The Diplomat is an engaging political thriller that also is, somehow, a breezy watch about the machinations of international diplomacy. Keri Russell carries the show on her back, but that’s not to say the supporting cast or story are lacking - both are great. She just has an extremely watchable and relatable screen presence. There are a few soapy elements and very light hints of a “can she really have it all?” storyline, but nothing too forced or melodramatic; there is quite a bit of humor too. All in all, an enjoyable surprise.

Previous Next Spooky season is upon us and with the upcoming release of Halloween Ends, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Horror Villains. Each writer ranks his or her top 15 characters 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. SAM (TRICK 'R TREAT) Sam has become an iconic character for Halloween as Trick 'r Treat is one of the biggest cult films of the season. The comeuppance he delivers to those who break the rules of Halloween is carried out with his own brand of violence, which is all the more unsettling because of his childlike appearance... at least until he removes his mask. Let's hope the long rumoured sequel comes to fruition because we definitely need more Sam. - Nick 4. THE THING The Thing is director John Carpenter’s creature feature masterpiece, and the reason The Thing is so terrifying as a character is its mystery. The suspense and terror this horrifying alien parasite presents while watching is rooted in little more than paranoia. At first, you’re not even sure who or what The Thing is, but when it reveals itself in its frightening forms, you’re in for an unsettling ride. I’d advise getting your wits and flamethrowers ready because the unforgettable creature design crafted by Rob Bottin is bloody petrifying! - Paige 3. CHUCKY (CHILD'S PLAY) Chucky has been active for more than 30 years and gone through multiple redesigns, but at the end of the day, he’s always been the vessel for serial killer Charles Lee Ray. A killer whose motivations have evolved with every new piece of lore, he remains one of the most interesting and multifaceted horror icons out there while still being a sadistic and truly evil character. He’s got the iconic look, laugh, and family, making him the most underrated horror killer by far. - Joseph 2. MICHAEL MYERS (HALLOWEEN) Michael Myers is the epitome of pure evil. While it’s not totally clear if Myers borders on the supernatural, by all accounts, he is just a human being…a human who kills for the sake of killing. No rhyme or reason to his murder sprees, he has haunted the town of Haddonfield through 25 years of Halloween films, properly freaking us out with his iconic look and sheer brutality. He’s a silent killer you’d be foolish not to be freaked out by. - Adriano 1. FREDDY KRUEGER (A NIGHTMARE ON ELM STREET) Through seven original franchise movies, a television show, a pseudo-spinoff, and a reboot, Freddy Krueger, in both his most horrific and humorously sadistic forms, has always been, quite literally, the stuff nightmares are made of. “The Son of 100 Maniacs” turned child predator is nearly inescapable because everyone falls asleep eventually, and he blurs the line between dreams and reality until it’s too late. With his incredibly dark backstory, iconic glove, tattered sweater, and wide-brimmed hat, he is an inevitable death for the children of Springwood. One, two, Freddy’s coming for you? …goddamn right he is. - Quentin HONORABLE MENTIONS PENNYWISE NORMAN BATES JIGSAW ANNIE WILKES GHOSTFACE Photo Credits: Photo 1 - Legendary Pictures; Photo 2 , 4 - Universal Pictures; Photo 3 - Syfy; Photo 5 - New Line Cinema