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

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

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

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

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

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

Previous Next Happy Halloween! We decided to drop our Top Five list for you a day early to give you another October 31st treat! With that being said, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Horror Comedies. For inclusion on this list, a film needs to be intended comedy as opposed to "so bad it's good" or a horror with comedic moments. Each writer ranks his or her top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. GHOSTBUSTERS When it comes to horror comedy classics, who you gonna call? For such a simple concept on paper (I wouldn't call fighting ghosts revolutionary), Ghostbusters has stood the test of time for a reason. Beyond being funny and endlessly quotable, Ghostbusters is a fun-as-hell adventure, and one that will remain in the pantheon of comedy classics until film dies out. Bill Murray steals every single scene he's in, of course, but Dan Aykroyd, Ernie Hudson, Sigourney Weaver, and the late, great Harold Ramis are all hysterical as well. To put it bluntly, Ghostbusters came, saw, and kicked ass. - Adriano 4. GREMLINS Director Joe Dante's Gremlins is the definition of iconic. The silly little mogwai has been a staple of pop culture since the film's release back in '84, and you can still feel his influence today through characters like Baby Yoda, who's essentially just a dollar-bin Gizmo. It's impossible not to fall for this film's small-town charm, the incredible puppetry, and the hilarious cartoon energy. This 80s classic brings the laughs, but it’s also pretty creepy because I distinctly remember the swimming pool scene giving me nightmares as a kid. If you're looking for a great horror comedy to watch this holiday season, you can never go wrong with Gremlins . - Caleb 3. BEETLEJUICE Beetlejuice is Tim Burton-directing at its best, and one of the most originally written comedy-horror films of its kind. Its success is somewhat self-evident… I mean, there was a Beetlejuice cartoon, several video games, a musical, and now a sequel coming next year for Beetleju …whew, that was close! This film is infinitely clever in its hilariously complicated and overly bureaucratic afterlife that forces the involvement of the aforementioned freelance “bio-exorcist” (Michael Keaton) and shifty miscreant we’ve come to love. It’s memorable and (kind of) wholesome family fun. All I need to say is “Daaaay-O,” and, yep…you know the scene! - Preston 2. SHAUN OF THE DEAD There would be no Cornetto Trilogy if the first movie wasn’t pure perfection. Simon Pegg, Nick Frost, and Edgar Wright blend the exact right amount of comedy into the zombie genre to make something uniquely singular, but still scary enough to not feel like a parody. The entire cast fits right into place with the film’s kinetic yet dry energy (don’t ask me how those two fit together) to make an instant classic that is sure to make many a Best Of… list to come. - Amarú 1. THE CABIN IN THE WOODS The best horror film about horror films, The Cabin in the Woods stands out as one of the single most original horror comedies ever. Despite relying entirely on tropes, well-worn stereotypes, and familiar plot points, it totally subverts all expectations and revitalises the genre by satirizing the mechanics of the horror movie. It’s extremely smart and funny, yet it doesn’t take itself too seriously while still bringing some genuine scares, fantastic special effects, and one of the most thrilling and unexpected third acts I’ve ever seen, not to mention its fantastic cast and pitch-perfect performances. - Katie HONORABLE MENTIONS WHAT WE DO IN THE SHADOWS THE FRIGHTENERS TUCKER & DALE VS. EVIL JENNIFER'S BODY READY OR NOT Photo Credits: Photo 1 - Columbia Pictures; Photo 2, 3 - Warner Bros.; Photo 4 - Rogue Pictures; Photo 5 - Lionsgate

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

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

THE AFTERPARTY: SEASON ONE Starring: Tiffany Haddish, Sam Richardson, Zoe Chao, Ike Barinholtz, Ben Schwartz, Ilana Glazer, Jamie Demetriou, and Dave Franco Created by Christopher Miller ADRIANO The Afterparty is just the best. I had so much fun watching this show that I couldn’t stop rewatching it. It’s so clever in its murder mystery storyline that I legitmately didn’t have a clue who the killer was going into the finale. The genre-hopping perspective is smartly done as well, showing not just how each person saw the night going, but also adding good character development along the way. Each character is played to comedic perfection by this great and hilarious ensemble too. I can’t believe just how hard I fell for this show. QUENTIN The Afterparty from Christopher Miller (of Lord & Miller) might end up being the surprise show of the year. It’s genuinely funny, but still manages to have an engaging and fairly unpredictable murder mystery at its center. Plus, each 30-min episode takes on a different genre, from rom-com to action to horror, which allows the great cast to play the same characters in several different ways. The highlight is the musical themed episode focused on Ben Schwartz’s character, but there really aren’t any weak links to be found.

SCENES FROM A MARRIAGE Starring: Oscar Isaac and Jessica Chastain Creator: Hagai Levi QUENTIN While I can appreciate the powerhouse performances from Oscar Isaac and Jessica Chastain (they truly are award-worthy), Scenes From a Marriage is not a fun miniseries. You're essentially watching a white collar marriage fall apart for five hours, complete with all the fighting, manipulation, and awkwardness that entails. If you're watching for the "art" of it, then I suppose you'll get what you're looking for. However, I never enjoyed spending an hour with this couple (Chastain’s Mira is an especially unlikeable character). It's a total buzzkill. A generally well-crafted buzzkill, but a buzzkill, nonetheless. What sort of psychopath finds this entertaining?

THE PATIENT Starring: Steve Carell, Domhnall Gleeson, and Linda Emond Creators: Joel Fields & Joseph Weisberg QUENTIN Despite a strong start, an interesting premise, and a wonderfully restrained performance from Steve Carell, The Patient eventually wears out its welcome. It never becomes full-on bad, but it just goes on for far too long. The story has two plotlines at play, both about the father-son dynamic, but only one of them is interesting, developed, or necessary, which leaves the viewer tuning out for 5-15 minutes every 30-minute episode. The ending didn’t really land for me either, making me feel like the juice wasn’t worth the squeeze. Maybe it would have worked better with fewer episodes or as a movie.