Search Results

HIT MONKEY: SEASON TWO Starring: Jason Sudeikis, Fred Tatasciore, Ally Maki, Olivia Munn, Leslie Jones, Cristin Milioti, Nat Faxon, Stephanie Beatriz, Emi Lo, Reiko Aylesworth, Tramell Tillman, Sonny Valicenti, and Rob Corddry Creators: Josh Gordon and Will Speck QUENTIN Full disclosure: even though I watched Hit-Monkey : Season One, it was way back in 2021, so I only remember broad brush strokes, such as it’s about an assassin monkey and his ghost mentor voiced by Jason Sudeikis. That’s about it, so I came into Season Two pretty cold. That notwithstanding, Season Two is a terrific surprise. Don’t let the Marvel branding fool you, either. This is as violent, bloody, and R-rated as a Tarantino movie, but it also boasts well-balanced humor and genuine emotion built on incredible character depth. Coupled with striking anime-meets-Archer animation and on-point vocal performances, you’ve got something that rivals X-Men ’97 .

THE OLD MAN: SEASON ONE Starring: Jeff Bridges, John Lithgow, Alia Shawkat, Amy Brenneman, E.J. Bonilla, Bill Heck, Leem Lubany, Pej Vahdat, and Gbenga Akinnagbe Creators: Jonathan E. Steinberg and Robert Levine NICK One of the biggest strengths of The Old Man is the way it carefully executes big reveals through its seven episode first season. This makes it hard to get into certain plot points, but what I can say is the acting is great across the board. The heavy hitters do exactly as you’d expect, with John Lithgow getting the edge for series MVP. The writing is crisp too, a necessity for such a dialogue-heavy series. Unfortunately, the show struggles to maintain the tone of its excellent pilot, which sets up expectations for what the series will be, only to subvert them later. ADRIANO The Old Man gets a resounding “hell yeah!” from me. I went into this show thinking “great, some Yellowstone knockoff,” and was only really watching because of recommendations. With the first episode, I thought “Oh, this isn’t Yellowstone at all.” It’s a very exciting thrillride that I was not expecting to go on. It also shows that even at 72 years old, Jeff Bridges can beat me up. The guy was unexpectedly badass and gave a great performance to boot. Overall, I was shocked by how captivated I was with The Old Man . I just wish the season was longer QUENTIN While the series never quite lives up to the promises made in the premiere, it’s hard to be too negative about a show featuring such strong performances from screen legends Jeff Bridges and John Lithgow. Overall, the series is a tad slow, and the ending is a somewhat unsatisfying set up for Season Two; However, it’s filled with enough intrigue, interesting spycraft, and character development to keep you invested. And while I wouldn’t go so far as to call the show “predictable,” the fact is that *I* predicted several major plot points. But either way, predictable or not, The Old Man is worth watching.

Previous Next February 5, 2025 WRITTEN BY: QUENTIN After absolutely killing it in September with Fantasy Filmfest 2024, the main film festival in the Fantasy Filmfest lineup, I was eager to check out their quick-hitter festival, Fantasy Filmfest: White Nights. Thankfully, despite being smaller in stature, it still brought the heat. But before we get to the ranking, what is White Nights? White Nights is a two-day festival that takes place near simultaneously across seven German cities, and much like the main Fantasy Filmfest, it focuses on thriller, horror, and sci-fi. This year delivered 10 films in two days, including separate movies starring Nicolas Cage and Jack Quaid, as well as a movie from director Steven Soderbergh. We also got a movie that won awards at Toronto International Film Festival and Fantastic Fest while also being the most nominated film at the 61st Golden Horse Awards with 11. Unfortunately, due to a scheduling conflict, I missed the South African remake of 1987’s cult classic Street Trash , but I’m sure I’ll catch it at some point down the road. Overall, it was a great festival, and I look forward to Fantasy Filmfest’s third festival, Fantasy Filmfest Nights, which will take place over four days in May. Until then, let's rank what White Nights had to offer… 9. THE WAILING First things first: this isn’t a Spanish remake of the 2016 Korean classic of the same name. If that disappoints you, I’ve got even more bad news because, frankly, this movie isn’t that great. It uses a story construct similar to It Follows — an evil entity that attaches itself to people — to explore violence against women and mental illness, but the fact is that this premise has been done better (and often). On top of being somewhat unoriginal, it’s disjointed while kinda meandering, feeling half written and relying mostly on atmosphere without building much tension or delivering many scares. The performances are decent, though. 8. I, THE EXECUTIONER Unbeknownst to me, I, the Executioner (a.k.a. Veteran 2 ), is a sequel. I didn’t see (or have even heard of) its predecessor, so I have no idea if there were important nuances or backstory I was missing as I watched this movie. That said, it’s an enjoyable but fairly standard action cop thriller. It reminded me of movies like S.W.A.T. and Striking Distance — you know, the kind of movies you stop on when flipping channels but never intentionally watch. If it were in English, it may have ranked higher, but being somewhat generic and in subtitles makes for nothing more than a one-time diversion. This review was originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 7. MADS On a technical level, MadS is extremely impressive. Shot in one continuous take, this 86-minute movie does a great job of using camera angles and sound design to build a gory vibe of paranoia and anxiety. However, there are inherent drawbacks to the approach that hurt the film. For one, it’s very poorly lit, often making it difficult to see what is happening. Also, the story becomes super draggy, resulting in a movie that feels much longer than its compact runtime. Lastly, the ending is just unsatisfying. Film nerds should see it for the technical achievement, but I’m not sure others need to rush to it. 6. ABOVE THE KNEE Despite its low-budget and oddball Norwegian trappings, I was immediately captivated by this tale of body integrity dysphoria, which is a rare mental disorder characterized by the desire to have a physical disability due to feelings of discomfort in being able-bodied, and the madness it sews into one’s psyche. It’s admittedly imperfect, featuring average performances and not much in the way of gravitas, but the “X days until ‘The Accident’” story structure kept me on the edge of my seat, constantly guessing at how it all might end. It’s by no means necessary viewing, but I’m nevertheless happy Above the Knee crossed my path. 5. NIGHT CALL Night Call , or La Nuit se Traine in French, doesn’t reinvent the wheel of the “survive the night” action thriller, but that doesn’t mean its simple story isn’t effective. Reminiscent of the 1993 cult classic Judgment Night , Night Call boasts tense, suspenseful, violent, and gritty noir thrills while also delivering a sympathetic protagonist in Mady (Jonathan Feltre) that you can’t help but root for. The Black Lives Matter angle is a little ham-fisted, though, failing to be thought provoking in the way it likely was intended, but that doesn’t exactly hurt the movie. Overall, it’s like a well-executed cover song: familiar, but not without merit. 4. COMPANION Much like Barbarian , which has been referenced incessantly in the marketing (“from the creators of Barbarian ”), Companion is a great “the less you know, the better” movie that is sharp, slick, incisive, surprisingly funny, and a thrilling social commentary on perceived gender roles. It probably hits even harder given what is happening in the United States right now. It’s admittedly not overly original — I could rattle off at least a dozen movies that have touched on similar themes — but it’s a witty breath of fresh air in an overplayed genre. It’s hard to believe a movie this good was dropped in January. 3. DEAD TALENTS SOCIETY I’ve been wanting to see Dead Talents Society since I mistakenly thought it was premiering at Cannes in 2024 (I even mentioned it in my Cannes preview!). After eight months, I’ve finally seen it, and I can thankfully say that it doesn’t disappoint. Not only is it extremely stylish, hilariously clever, and rich with world-building, the story is surprisingly heartfelt due to the instantly relatable and lovable characters. Writer-director John Hsu effortlessly balances comedy, horror, and drama in ways few can, and although it drags ever-so-slightly in the middle, Dead Talents Society remains perhaps the best horror comedy I’ve seen since The Cabin in the Woods . 2. PRESENCE Truth be told, I haven’t liked a Steven Soderbergh offering since 2017’s Logan Lucky (eight movies and three series ago), and I was worried the first-person aspect of Presence was going to be too gimmicky. However, I was blown away. To be clear, this isn’t a horror movie at all. It’s a heavy family drama, and I was immediately immersed in the familial dynamics at play on screen (most of the credit goes to Chris Sullivan’s performance). It’s very similar to David Lowery’s A Ghost Story (which also blew me away), and I suspect that, much like Story , Presence won’t leave my mind for some time. 1. THE SURFER Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024).

PAUL T. GOLDMAN Starring: Paul T. Goldman Creators: Jason Woliner and Paul T. Goldman QUENTIN Paul T. Goldman is a wildly surreal trip that is tough to explain in 100 words, but imagine watching Tommy Wiseau’s The Room and James Franco’s The Disaster Artist , which is about the making of The Room , at the same time. Now, throw in a true crime documentary angle, and that sums up Paul T. Goldman . A pure-hearted and lovable doofus, Paul T. Goldman (the man) brings some light cringe to the screen, but he also elicits genuine laughs and feelings of sympathy. Plus, the story is just bonkers. Overall, it’s a true hidden gem of a series and a win for Peacock.

THE MANDALORIAN: SEASON THREE Starring: Pedro Pascal, Katee Sackhoff, Carl Weathers, Giancarlo Esposito, Katy M. O’Brian, Emily Swallow, and Paul Sun-Hyung Lee Creator: Jon Favreau AMARÚ You never realize how literal Mandalorians’ speech patterns are until they say more than four words (is this the way?). With Season Three of The Mandalorian focusing as much on Bo-Katan (Katee Sackhoff) as Din Djarin (Pedro Pascal) and Grogu, the heavily expository dialogue makes the season initially feel long-winded and meandering. But when the full picture comes into sight, it’s an interesting journey deciphering to whom the title is referring. While the build to the trio’s collective adventure is not as exciting as previous seasons, a strong finish makes it a compelling one to watch unfold. NICK This season of The Mandalorian is easily its weakest. It's less focused, with more of an "adventure-of-the-week" style, and for a large portion, it puts Grogu on the backburner. I wondered if bringing him back during The Book of Boba Fett was the right call, and, to me, this cemented that it was not. He's not vital to the story, nor does he get a chance to really grow. In fact, Bo-Katan (Katee Sackhoff) is the only character to get a quality arc. It still has all the trademarks of Star Wars , and it certainly ends strongly, but it doesn’t reach the heights of previous seasons. QUENTIN Despite the production values, special effects, and action set pieces being on par with previous seasons, if not better (especially in the last two episodes), the writing this season really punches The Mandalorian in the dick, bringing the series down to slightly above average territory. The main story, if you can call it that, revolves around re-establishing Mandalore, but it isn’t given enough attention to be compelling. Plus, random breakaway episodes completely halt any momentum that plotline tries to establish. Add in an ending that feels like a series finale, and I’m not sure I need to return for the already confirmed fourth season. PAIGE This season of The Mandalorian broadened what the actual title of the show stands for. While focusing more on the unity of rebuilding Mandalore, it pushed Din (Pedro Pascal) and Grogu’s storyline to the backseat. It isn’t bad television, per se, but it is the weakest of the three seasons, especially with the lack of depth and poor writing. That said, despite the inconsistent season, the final two episodes are amongst the best of the entire series, setting us up for many more adventures with our main duo. I'm still looking forward to what comes next because this is the way! ADRIANO After two knockout seasons, it seems like The Mandalorian has run its course after the third season. The entire season, I couldn’t really tell what Jon Favreau was going for, as each episode seemed to go from one side quest to another, only without a real purpose this time. I did like Katee Sackhoff, but the focus on Bo-Katan meant less focus on Din Djarin (Pedro Pascal) and Grogu, which is a choice that is a little confounding. I can’t say I had no fun, but I will not be rushing into Season Four like I did with this season.

THE RIGHTEOUS GEMSTONES: SEASON THREE Starring: Danny McBride, John Goodman, Adam Devine, Edi Patterson, Tony Cavalero, Cassidy Freeman, Skyler Gisondo, Tim Baltz, and Gregory Alan Williams Creator: Danny McBride QUENTIN Through three seasons, the basic plotlines of The Righteous Gemstones are getting a little crazy. Like, how many times can the Gemstones be involved with plots of murder and domestic terrorism? That said, the character development, especially this season, is only getting stronger, and the jokes…if you like Danny McBride’s particular brand of comedy…rarely miss. Even if you don’t like McBride, the real standouts are Edi Patterson and Tim Baltz, anyway. There is a little something for everyone here, from brilliant satire to dark drama to a plethora of dick jokes. My only note would have been for more Baby Billy (Walton Goggins). ADRIANO Though Danny McBride’s vulgar sensibilities don’t always work for me, I’ve been delightfully surprised by how much I’ve loved The Righteous Gemstones since its first season…and Season Three might be its best yet. While the plot keeps getting crazier, it feels like its main focus, now more than ever, is on how the characters can grow. Edi Patterson, in particular, stood out this time around amongst its hilarious ensemble. If you weren’t into this show before, you’re probably still not sold on it; however, if you’ve been a fan since the get-go, this should be a very welcome return.

THE WALKING DEAD: DARYL DIXON: SEASON TWO Starring: Norman Reedus, Melissa McBride, Louis Puech Scigliuzzi, Romain Levi, Clémence Poésy, Eriq Ebouaney, Joel de la Fuente, Laïka Blanc-Francard, Anne Charrier, and Manish Dayal Creator: David Zabel NICK After a surprising premiere season, The Walking Dead: Daryl Dixon takes a step back with Season Two, The Book of Carol . Although the reunion of Daryl and Carol (Norman Reedus and Melissa McBride, respectively) is a welcome one, the story to get to that point (and beyond) is Fear the Walking Dead levels of ridiculous. Instead of integrating Carol into the existing story, much of what made Season One work so well is abandoned to create a watered down version of The Walking Dead - exactly what I was worried these spin-offs could become. Let’s hope this was a sophomore slump and Season Three can rise from the dead.

DELI BOYS: SEASON ONE Starring: Asif Ali, Saagar Shaikh, Alfie Fuller, Poorna Jagannathan, Brian George, Alexandra Ruddy, and Tim Baltz Creator: Abdullah Saeed QUENTIN Deli Boys isn’t without its charms, playing out like a comedic Breaking Bad with a Pakistani spin, but as a show watched in a binge, those charms become less and less…well, charming…with each passing episode. There are, admittedly, a few one-liners that made me laugh out loud, but for the most part, the humor is relegated to the quietly-chuckle-to-yourself variety. Saagar Shaikh is the highlight as the pothead party boy Raj, and it’s very possible the series would work better on a week-to-week watch schedule (and with fewer episodes); however, as I experienced it, Deli Boys is nothing more than a passing distraction with diminishing returns.

SEXY BEAST: SEASON ONE Starring: James McArdle, Emun Elliott, Sarah Greene, Ralph Brown, Tamsin Greig, and Stephen Moyer Creator: Michael Caleo QUENTIN In a world where Jonathan Glazer’s film Sexy Beast doesn’t exist, Paramount+’s Sexy Beast (prequel) series might have been, at least, okay as a new crime tale. As it stands, though, that terrific film does exist, and this show cannot get out of its tremendous shadow. The story, one of British gangsters gangsterin’, is slow-moving, but might have been enough to capture interest. However, when you’re constantly thinking about how stars James McArdle, Emun Elliott, and Stephen Moyer are no Ray Winstone, Ben Kingsley (who was Oscar-nominated for his role in the movie), and Ian McShane, respectively, it really puts a damper on things.

REBOOT: SEASON ONE Starring: Keegan-Michael Key, Johnny Knoxville, Rachel Bloom, Judy Greer, Calum Worthy, Krista Marie Yu, and Paul Reiser Creator: Steven Levitan NICK Reboot is a show made for people who grew up watching (and still have an affinity for) the golden age of sitcoms. It’s a fun mix of new and old, featuring the classic ideals doled out in an adult manner. It’s smartly written, providing several laugh-out-loud moments, and it features a cast that somehow works well together. Everyone plays to their strengths: Keegan Michael-Key is over the top, Johnny Knoxville is crass and a bit of a mess, Judy Greer is... well Judy Greer, and Paul Reiser brings it all together. Sometimes, when you strike gold, it's best not to question things. QUENTIN Despite the interesting premise, terrific cast, and freedom to push the envelope, Reboot seems content to play out like a network sitcom with some F-bombs (and one very unnecessary topless scene) lazily thrown in. Its meta leanings are somewhat clever, but most of the jokes are tired and lazy. I mean, the running theme of the writer’s room scenes is “old people aren’t progressive, young people are too woke.” Paul Reiser asking, “do you remember Bugles?” is a literal joke. Hardy Har Har. For better or worse (definitely worse), this series feels like an attempt at Modern Family with an edge…an incredibly dull, butter knife’s edge.

UPLOAD: SEASON TWO Starring: Robbie Amell, Andy Allo, Zainab Johnson, Allegra Edwards, Kevin Bigley, Owen Daniels, Andrea Rosen, Josh Banday, Paulo Costanzo, and William B. Davis Creator: Greg Daniels NICK I hope Upload isn’t forgotten due to the production delays of the past two years because it’s a sneaky good show. The second season picks up right where we left off, continuing its mystery plot and providing some neat twists and turns in only seven episodes. The visual effects are tremendous in this “afterlife comedy,” but it’s the chemistry between stars Robbie Amell and Andy Allo that really shines. The knock on this season is the aforementioned length. It feels far too short and ends with an unsatisfying cliffhanger that leaves things feeling unfinished. I needed more. QUENTIN In its second season, Upload has a major sophomore slump. It’s like the writers didn’t really know what to do after all the fun world building of season one, so they tried a little bit of everything. There are plotlines revolving around a murder conspiracy, a “will they, won’t they” romance, a quasi-villainous girlfriend, inner-office dynamics, corporate espionage, and a commentary on the 1%, none of which are explored all that well. It’s a lot of narrative threads for the series’ seven short episodes (about 3.5 total hours). Honestly, the whole affair just feels like setup for an assumed season three. JOSEPH Despite a great concept, the first season of Upload left a little to be desired. Thankfully, the second season changes that by adding some much needed depth to the world. The societal metaphors and existential questions are in full swing, and with that, comes a greater layer of comedy as well. Unfortunately, there are two interesting storylines that this season never commits to, so the final episode leaves you wanting more since it feels unfinished. Though a substantial improvement, season two of Upload still has some issues; let’s hope next season gets even better.

BEEF Starring: Steven Yeun, Ali Wong, Joseph Lee, Young Mazino, David Choe, Patti Yasutake, Ashley Park, and Maria Bello Creator: Lee Sung Jin QUENTIN While I don’t agree with all the “Netflix’s Best Show Ever!!” hype, Beef certainly is one of the streaming service’s better original offerings. Steven Yeun and Ali Wong have tremendous anti-chemistry when on screen together, but the series really shines when it dives into the struggles and failures of their individual characters. The dark comedic tones, tremendous character development, and cause-and-unintentional-effect plot points give the series a heavy Coen Brothers vibe, while the surreal finale has shades of Everything Everywhere All at Once . One lingering thought is that the series would have been more impactful (and much darker) had it ended with Episode Nine, though. AMARÚ The fact that Steven Yeun made me utterly hate him is a testament to how wild Beef is. I was constantly stressed while watching this dark and dastardly clusterf*** of a show (I mean that in the best way possible). Yeun kills it as the depressed dude-bro Danny, and his douchebaggery is matched by Ali Wong’s maniacal Amy. It becomes a sport figuring out who you dislike more, yet, somehow, you still feel bad for both of them when their true emotions explode on screen. Thank God each episode is only 30 minutes long because my heart wouldn’t have survived much longer than that. PAIGE A24 has done it again! Beef is a premium, grass-fed dark comedy that takes us on an adventure of self-discovery and rage. Our two leads, Steven Yeun and Ali Wong, deliver stellar performances that allow us to dive into their characters’ psyche and imperfections, and while the show can feel overwhelming at times, it’s still worth the watch because it’s so different from anything else you’ve seen. It’s compelling, it boasts great writing, and it will definitely make you think twice before letting out some road rage. JOSEPH The themes and ideals of Beef can best be summed up with the old adage “hurt people hurt people.” Despite the marketing and initial setup, Beef is far from an outlandish comedy. In fact, calling it a comedy at all is a stretch. Instead, it functions as more of a character study that dissects the issues brought on by generational trauma and a fear of loneliness. The characters are so rich and complex that the ridiculous heights the show reaches still manage to feel believable. Beef is the type of show that hooks you in and holds your attention from beginning to end.