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Previous Next August 6, 2025 WRITTEN BY: NICK After a lot of apprehension following the sale of James Bond's creative control from Barbara Broccoli and Michael G. Wilson to Amazon MGM Studios (and, in turn, Amy Pascal and David Heyman), there has been some recent positivity. First, Denis Villeneuve (Prisoners , Arrival , Dune ) was announced as the director of the upcoming 26th Bond film. Then, Steven Knight (Eastern Promises , Locke , Peaky Blinders ) was announced as the film’s writer. So, with the brain trust in place, the focus has turned to casting, and as interesting as that decision will ultimately be, I wanted to look at some other franchise aspects that could use a bit of a revamp. Below, I’ve singled out four pathways I’d like to see Amazon MGM take to not only reinvigorate the IP under its leadership but also offer something we haven’t seen before with this character. We live in a world of franchises, and their success often lies in the way they’ve been able to expand their stories beyond that of a singular hero. That’s what we need here. There is a potential for so many new ideas and characters in the world of MI6 and 007, and it’s time we start exploring that to enrich the world of James Bond. Here are a few places to start… SPOTLIGHT THE OTHER 00 AGENTS Despite some brief appearances throughout the franchise (Sean Bean's 006 in Goldeneye being the most notable example), the focus has always been on 007. There was an iteration of this piece where I contemplated letting the demise of Daniel Craig’s James Bond in No Time to Die be the end of Bond as a person and having someone new (perhaps a woman) take over the mantle of 007. However, I’ve reversed course on this as there are plenty of other avenues to build upon without letting Mr. Bond go. Does the character need a bit of a modern update? Sure, but that’s something I’m sure will be addressed. I think you have the potential to greatly enrich this franchise if you place a focus on and give some weight to the other 00 agents inside MI6. Whether it’s the old guard of Broccoli or the new one at Amazon MGM, there are clearly certain attributes of Bond they aren’t ready to move away from. Regardless of your opinion on that, focusing on other 00s would allow for greater representation of actors from different genders or ethnicities, creating unique characters and backstories tailored to them. If the long-desired Idris Elba casting as 007 isn’t going to happen, why not make him 008? Or bring in Thandiwe Newton (my long-time personal pick as 007 successor) as 003? If you go this route, you’re no longer beholden to any prerequisites. You can build a character from scratch while taking everything from their race to sexual orientation into account. This would create authentic and entirely new characters that could potentially help carry the franchise for years to come. SHOW WHAT IT TAKES TO BECOME A 00 AGENT Bouncing off my previous point, wouldn’t it be cool to see the process these agents have to go through to get into MI6? Witnessing the training of some of the brightest hopefuls England has to offer, watching their rise or downfall, the politics, the allegiances, the successes, the failures… I mean, although tonally different, this aspect is a big part of why Kingsman: The Secret Service (a film heavily influenced by Bond) worked as well as it did. Just because series like Treadstone and The Continental (origin stories for the Jason Bourne and John Wick franchises, respectively) didn't really work, doesn't mean the idea is a bad one. With the extended runway a series offers, you would be able to follow these young agents as they make their way through the 00 program and take a deep dive into all that entails. This would not only create better world building, but it would also provide higher stakes and major characters who can either become part of the future or act as expendable assets while still carrying some weight to advance the stories of other characters. BRANCH OUT FROM A SINGULAR TIMELINE I understand we live in a world of expanded universes, but one of the best things this franchise can do is step outside of its standard timeline. Think about it…as it stands, playing James Bond is a lot like taking on the role of a superhero for Marvel or DC Studios. The role may be great, but you're locked in for multiple films, which can take away certain opportunities due to contract and scheduling issues. It doesn’t have to be that way. If we introduce the idea of James Bond one-offs, we have a chance to play with Bonds of different ages, different timelines, and with different actors. Would you like to see Christian Bale, Hugh Grant, Benedict Cumberbatch, or countless other A-list actors play Bond? That becomes much more plausible in this format. You could take James Bond back to the 70s or connect him to real world events. You can take real risks to do something different. I’m not saying they’d go as far as making a deep drama where they explain his misogynistic ways by having him be a closeted homosexual in the 1960s (could you imagine?), but the possibilities really are endless. James Bond being an indestructible pseudo-superhero worked when I was growing up, but in a cinematic landscape populated by superheroes, I don’t need that anymore. You already have 25 films of a character you know won’t die. It’s time for stakes, and giving Bond singular stories can do that. You can put Bond in true peril, maybe even have the villains win sometimes. It’s not that he needs to die, it’s that you know he can. This fresh start is the perfect time for an evolution of this character and the way his stories are told. We’ve had Bonds that lean more into the cheese and comedy, and we’ve had Bonds that are pure badass. It’s time to see what the next version of Bond is, and the beauty is, we don’t have to pick just one. BRING BACK PIERCE BROSNAN Yes, I know I just said it was time for a fresh start, and I meant it. But there’s still a way to make this work. Pierce Brosnan is the Bond I grew up with, and when Daniel Craig’s version of the character was fully realized, it made me wish we’d gotten to see Brosnan have a shot at the edgier version of the character. I’ve also always been intrigued by the idea of an Old Man Bond storyline where he comes back for one last mission. Or perhaps to mentor the next 007 in line. This worked tremendously well with Hugh Jackman in Logan — a film I consider the greatest superhero film of all time — and there’s no doubt things could go the same with Pierce. A gritty and grizzled Brosnan (similar to what he showed in the underrated The November Man ) could pair nostalgia with the introduction of something new. It could be a ton of fun even if it took Brosnan following in Harrison Ford’s footsteps as Han Solo in A Force Awakens , laying his version of the character to rest to secure a return.

THE HEAD: SEASON ONE Starring: Alexandre Willaume, Katharine O’Donnelly, John Lynch, Laura Bach, Álvaro Morte, and Tomohisa Yamashita Creators: David Pastor Àlex Pastor, and David Troncoso QUENTIN This out-of-nowhere miniseries combines two of my favorite stories: John Carpenter's The Thing and Agatha Christie’s And Then There Were None . The addition of two potentially unreliable narrators (also a personal favorite) and some slasher movie vibes only help to put this show in a category I like to call "extremely my shit." Claustrophobia and paranoia permeate all six episodes, and the story never drags given the short runtime. It's bleak, but The Head is a very bingeable and compelling murder mystery that most people probably will ignore when scrolling the HBO Max menu. Don't be one of those people.

Previous Next September 4, 2024 WRITTEN BY: QUENTIN If you’ve been following me for any amount of time, you know I love a film festival, and I’m trying to attend as many as I can for as long as I can while this movie critic game plays out. I’ve done everything from remotely covering legendary genre festivals (Fantasia, Fantastic Fest) to attending the world’s most prestigious festivals in person (Cannes, Venice, Toronto, Berlin). I’ve also done a few lesser known, but fan-favorite, festivals (Blood in the Snow, Inside Out), and it’s in this category that Germany’s Fantasy Filmfest holds court. 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 January and February) and Fantasy Filmfest Nights (a four-day festival in April). You can read more about them HERE . 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! Sounds pretty good, right? The thing that makes it even better for me is that I live in one of those major German cities, and the Stuttgart iteration is held a half mile from my apartment. No need for air travel or lengthy hotel stays — just watch a movie and walk home. Delightful. Still, the only true measure of a film festival is its film slate, and I can assure you, Fantasy Filmfest has some potential gems. In fact, several of its offerings also screened at Cannes, TIFF, Venice, Fantastic Fest, and Fantasia. That is to say that Fantasy Filmfest is in good company, quality-wise. So, of the 30+ movies being screened at this eight-day festival, what am I looking forward to watching? I’m so glad you asked… AZRAEL Full disclosure: Azrael was one of my most anticipated films from Fantasia last month, but sadly, it wasn’t included on the remote access list, so I didn’t get to see it. Fantasy Filmfest provides a second chance! When it comes to festivals, existing buzz and name recognition go a long way. For Azrael , there is quite a bit to go on. The two quotes that most caught my eye, though, are “an inventive and exciting blend of folk and survival horror” and “a thrilling sprint…that had me riveted.” On top of that, there is some notable talent involved. You’ve got Samara Weaving, who should need no introduction; director E.L. Katz (cult classic Cheap Thrills ); and writer Simon Barrett ( You’re Next , The Guest ). Mix all that together in a dialogue-free movie described as Fury Road meets Evil Dead meets Apocalypto , and this could be an intensely wild ride. The fact that Azrael won Audience Awards for Best Feature, Best Actress (Weaving), and Best FX at Panic Fest 2024 only furthers that hope. A DIFFERENT MAN Although most people probably know Sebastian Stan as Marvel’s Bucky Barnes/Winter Soldier, he has quietly been putting together an excellent resume of small oddities ( Fresh ) and underground drama ( The Apprentice ). In A Different Man , Stan plays a man who has just had surgery to fix his neurofibromatosis. However, despite his new pretty face, he becomes fixated on the actor cast to play him in the stage production of his life before the surgery. If you’ve seen the trailers, it looks like a clear “careful what you wish for” story, but the fact that it’s being categorized as a black-comedy psychological-thriller suggests that it could be a completely bonkers ride. I mean, Michael Shannon is listed as playing himself, and I’m very curious what that’s about. That aside, between Stan and director Adam Schimberg, who was named a “Top 10 Director to Watch” after screening this movie at Palm Springs Film Festival, consider my interest piqued. KILL Truth be told, Kill has already been released in the United States, so I could, in theory, watch it at home on streaming. However, it is having its German premiere as part of Fantasy Filmfest, and I’d much rather watch a subtitled movie on the big screen where I have less distractions. Admittedly, I don’t know much about the plot of Kill , and given that it’s an Indian movie, I can’t say I know anything about the cast. What I do know, however, is that it has been called the most violent movie in Indian cinema history, and following its premiere at Toronto Film Festival (where it won runner-up for People’s Choice Award: Midnight Madness), nothing but critical acclaim has rained upon it. Fantasy Filmfest calls it “the best action cinema can offer,” comparing it to The Raid and Die Hard . That’s all I need to hear. SLEEP Another foreign film, this time from South Korea, Sleep has been hailed as “a perfection of genre film where laughter and dread mingle.” Oscar-winning director Bong Joon-ho called it "the most unique horror film and the smartest debut film I've seen in ten years." If you need more than that, I’ll humor you… Sleep is about a young wife who discovers her husband sleepwalking and behaving erratically one night. From there, her anxiety heightens as she doesn’t know what to expect once the lights go out and fear for her newborn child escalates. Jung Yu-mi, who you might recognize from Train to Busan , has already won two Best Actress awards for her performance, and writer-director Jason Yu won Best Screenplay (and was nominated for Best New Director) at the Baeksang Arts Awards (or the Korean Oscars), so it seems all the pieces are there for something good. SPEAK NO EVIL Speak No Evil probably is the closest thing to an American blockbuster on Fantasy Filmfest’s slate. Starring James McAvoy, Mackenzie Davis, and Scoot McNairy, you’ve probably already seen the seemingly-shows-way-too-much trailer several times. Even if the trailer does ultimately ruin the movie, McAvoy is one of those actors who doesn’t act near enough despite always doing interesting things on screen, especially with dark characters (see: Split and Filth ). On top of that, this movie was written and directed by James Watkins, who also directed one of Black Mirror ’s best episodes (“Shut Up and Dance”). Considering Watkins’ involvement and the joy of seeing McAvoy give another psychologically violent performance — a performance that has been compared to Jack Nicholson’s performance in The Shining — Speak No Evil is a no-brainer. STEPPENWOLF From what I can tell, Steppenwolf is a Kazakh mix of John Wick and Kill , maybe with a dash of Sisu . This is another title I’m getting a second chance at after missing it at Fantasia, and words like nihilistic, hyper-violent, brutal, unhinged, and savagely psyche-ravaging have been thrown around to describe it. Fantasy Filmfest calls it “a merciless series of punches to the stomach.” What’s it about, though? A woman hires an escaped prisoner and former interrogator to find her kidnapped son; however, she soon learns his methods are too harsh, while he struggles to adapt to her more civilized ways. Yeah, I’m in. Hell, this might even make for a testosterone-filled double feature with Kill if the showtimes line up. WAKE UP The plot for Wake Up goes like this: Armed with buckets full of animal innards, a group of young activists plan to secretly demolish a huge department store. But they didn’t think of the night guard. It’s described as a “hard slasher…with a lot of verve” that spares no one and entertains with creative kills and thrills. Frankly, it’s been a long time since I’ve seen a good slasher, and if this Canadian horror-action movie from the team behind Summer of ’84 , We Are Zombies , and Turbo Kid can bring something fresh to a somewhat tired genre, I’m here for it, especially if it revolves around a tired security guard murdering a bunch of annoying Gen-Zers because he wants some peace and quiet during his shift. THE WELL Although the movie is in English, The Well is an Italian horror movie that pays homage to the Italian horror wave of the 70s and 80s, complete with an operatic score and “extreme special effects.” Having seen the trailer and a few still images from the film, director Federico Zampaglione definitely isn’t messing around with the grotesque practical effects and grisly gore. This thing looks incredibly unsettling, which almost makes me forget that the plot is essentially the same as Ghostbusters II — when a novice art restorer goes to a small Italian village to bring a medieval painting back to its former glory, little does she know she is placing her life in danger from an evil curse and a monster born of myth and brutal pain. Still, old-school, European-gothic, splatter frenzy, you say? Alright, I’m listening…

ANDOR: SEASON TWO Starring: Diego Luna, Kyle Soller, Adria Arjona, Stellan Skarsgård, Denise Gough, Genevieve O’Reilly, Faye Marsay, Varada Sethu, and Elizabeth Dulau Creator: Tony Gilroy QUENTIN Andor is a great example of how two seemingly contradictory things can be true because this series remains the best Star Wars offering despite its disjointed narrative structure, issues with story sprawl, and often sluggish pacing. It’s a clear step down from Season One and, frankly, somewhat disappointing. But when it hits, it fucking hits , carried on the shoulders of a terrific Diego Luna. I wish showrunner Tony Gilroy could have seen his five-season vision come to fruition instead of truncating those planned seasons into what amounts to Season Two’s four-pack of three(ish)-hour movies, but as flawed as it is, this extremely topical final season should satisfy fans. AMARÚ After the weighty ending to Season One, opening Andor ’s second season with rock-paper-scissors battles and techno raves felt very weird and very human. It was unexpectedly authentic, if out of left field, but reiterated how, even amongst tragedy and darkness, humanity is layered and complicated. Building upon that intriguing start, each progressive three-episode saga pushed its momentum forward like the ever-growing rebellion it portrayed, culminating in some of the most powerful, well-acted, satisfying, and emotional Star Wars since they released the best Star War, which not incidentally, is the movie that this season seamlessly leads to (Rogue One ). ROBERT Hey, Obi-Wan ! This is how you lead into a popular Star Wars movie property! Andor ’s second season has more uneven connectivity between arcs than Season One, likely because of the time jumps and release schedule, but that doesn’t take away from the breathtaking storytelling and grandiose themes woven into a show about intragalactic rebellion. Its highs are the highest you will see in media, not just science fiction, as this show exposes a larger truth than that of the Emperor’s energy program: Tony Gilroy should be head of creative content for Star Wars , written in laser-scorched markings on all Disney press materials. ADRIANO After years of Disney running Star Wars dry with boardroom-produced slop, Andor' s two-season run proves that when done right, this franchise can hit. Like its first season, the second and final season is smart, well-produced, emotionally effective, and exhilarating. There are devastating moments of political misery, making it feel like a show for adults that never shies away from war's disgrace and evil. In fact, the eighth episode made my stomach hurt with how brutal it was. At the risk of sounding hyperbolic, Andor is by far the best Star Wars has offered since the original trilogy. I want more of this, Disney. Check out our reviews for Season One HERE . Want to hear even more of our thoughts? Amarú and guest Ace Cabrera join Matt to take A Bigger Bite out of Andor: Season Two HERE .

THE AGENCY: SEASON ONE Starring: Michael Fassbender, Jeffrey Wright, Richard Gere, Jodie Turner-Smith, John Magaro, Katherine Waterston, Harriet Sansom Harris, Saura Lightfoot-Leon, Andrew Brooke, India Fowler, Reza Brojerdi, Alex Reznik, Hugh Bonneville, and Dominic West Creators: Jez and John-Henry Butterworth QUENTIN Although The Agency has its imperfections — including some poorly developed characters, occasionally sluggish pacing, and confusingly sprawling subplots — most of them are wallpapered over by the absolutely stacked cast. It’s just too hard to look away from Michael Fassbender and Jeffrey Wright when they’re doing their thing. Thankfully, the methodical storytelling also is sneakily engrossing, especially in a binge (probably the best way to watch since it takes a couple of episodes to get going), as it explores both the professional and personal cost of living the bureaucratic life of espionage in an appropriately cold way. The Agency admittedly takes some patience, but it’s worth it.

Previous Next With Dave Bautista making some noise for his turn in the upcoming Knock at the Cabin, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Non-Actors Turned Actors. Each writer ranks his or her top 15 actors 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. JANELLE MONÁE Janelle Monáe had already begun making a name for herself in music before beginning to work in films. She may not have A-list status yet, but she seems to be progressing far faster within the film industry than most musicians-turned-actors. She even gave one of the best ever openings for the Oscars back in 2020 with an energetic, musical homage to the biggest films of that year. From a humble start in Rio 2 , Monáe has grown substantially, being named on many Best Of 2022 and Oscar prediction lists for her supporting performance in Glass Onion . Her future is bright, her star is steadily rising, and she’s showing no signs of slowing down. - Joseph 4. MARK WAHLBERG The former Marky Mark hopped into the limelight as a rapper (and underwear model) who ultimately proved that he was much more than just a good-looking badass from Boston by jumping into acting. From roles such as Fear, Boogie Nights, The Other Guys , and The Fighter , Mark Wahlberg has established himself as an actor who can succeed in just about any role. With two Oscar nominations (Best Supporting Actor in The Departed and a Best Picture nomination as a producer on The Fighter ), he has been able to bring the good vibrations with many powerful and nuanced performances in a variety of genres. - Paige 3. DAVE BAUTISTA To me, Dave Bautista is one of the industry’s most interesting figures. Coming from the world of professional wrestling, where acting skills are set on the back burner for shiny muscles and flashy moves, it seemed unlikely the 6-foot-4, 289-pound behemoth would be able to make a successful transition to Hollywood. Many have tried, very few have succeeded; however, it's Bautista's passion for the craft that has set him apart from others of his ilk. Eschewing the muscular leading man roles his contemporaries are known for, he has carved out a different lane for himself, choosing instead to build his craft while working with the notable filmmakers of our time. The result has been the blossoming of a talented actor, able to play both external and internal roles with a surprising amount of grace and humility. - Darryl 2. ARNOLD SCHWARZENEGGER Here’s the thing about Arnold: He could probably be on this list twice. Not only did he go from being a world-class bodybuilder (Mr. Universe and 7x Mr. Olympia) to one of the biggest, literally and figuratively, action stars of the 80s and 90s (see: Predator , The Terminator , True Lies ), but after spending two terms as the governor of California, he returned to acting with several quieter, more nuanced films (see: Maggie , Aftermath ). On top of that, he has tremendous comedic ability (see: Kindergarten Cop , Twins ). He really can do it all. Lastly, “Arnold” is a fairly basic name, yet he has become so iconic that you don’t even need his last name to know exactly who is being talked about when someone says it. - Quentin 1. WILL SMITH Is there even a question on who tops this list? C’mon, son! Will Smith is so good that I put my first draft together without him because he consistently makes me forget he ever did anything before acting. I. Forgot. The Fresh Prince. The First-Rap-Grammy-winning, classic-summer-anthem-rapping Fresh Prince. He does it all: Comedy, action, drama, biopics, thrillers… he has top-notch performances in damn near every genre. Plus, he is the perfect happy crying meme because of his role in The Pursuit of Happyness. Will Smith is an ultimate entertainer, and he packs a mean… well, I’ll just leave it at his greatness. - Amarú HONORABLE MENTIONS DWAYNE JOHNSON JASON STATHAM JUSTIN TIMBERLAKE DAVID BOWIE ICE CUBE Photo Credits: Photo 1 - Netflix; Photo 2 - Lionsgate; Photo 3 - Disney; Photo 4 - Tri-Star Pictures; Photo 5 - Lionel Hahn/Getty Images

THE CONSULTANT: SEASON ONE Starring: Christoph Waltz, Nat Wolff, Brittany O’Grady, and Aimee Carrero Creator: Tony Basgallop QUENTIN Despite an unnervingly menacing performance from Christoph Waltz, The Consultant will give you narrative blue balls. The first episode is excellent, setting the stage for a mystery about who (or what) Waltz’s Regus Patoff is. With each passing episode, further questions are asked that excellently build the tension and mystery. It’s all very absorbing. However, the series doesn’t answer a single goddamn question posed, providing absolutely zero closure. It’s been a long time since I’ve been this angry and frustrated by an ending, and as the final credits rolled, the first thing out of my mouth was “fuck that damn show.” I stand by it.

MAYOR OF KINGSTOWN: SEASON TWO Starring: Jeremy Renner, Dianne Wiest, Hugh Dillon, Tobi Bamtefa, Taylor Handley, Emma Laird, Derek Webster, Hamish Allan-Headley, Nishi Munshi, and Aidan Gillen Creators: Taylor Sheridan and Hugh Dillon QUENTIN In typical Taylor Sheridan fashion, Mayor of Kingstown has one great storyline and three unnecessary ones. The A-plot, about rival gang leaders trying to re-establish order in an uneasy alliance with police, is very compelling, especially with the dynamic between Mike and Crip leader Bunny (Jeremy Renner and Tobi Bamtefa, respectively) carrying the series through its best moments. However, the three severely underwritten subplots about Mike’s mom (Dianne Wiest), a fugitive crime lord (Aidan Gillen), and a hooker-in-distress (Emma Laird) are distracting filler that bogs everything down. If this show returns…a big IF given Renner’s injuries…it needs a much tighter focus to take the next step.

FALLOUT: SEASON ONE Starring: Ella Purnell, Walton Goggins, Aaron Moten, Moises Arias, Kyle MacLachlan, Michael Emerson, Leslie Uggams, Zach Cherry, and Sarita Choudhury Creators: Geneva Robertson-Dworet and Graham Wagner PAIGE Despite never having played the game before, I found Fallout to be a post-apocalyptic blast. This action-adventure series accepts its ridiculousness, and even though it can occasionally be too quirky and over-the-top, it excels at keeping the viewer entertained the entire time. It has a lot of brutality, humor, and heart. Most importantly, though, is that they succeed in creating a fantastic universe inside the show that feels so lived in. Plus, the show's production design is next level. Overall, this is another huge win for video game adaptations. QUENTIN I can’t speak to how well Fallout works as an adaptation since I’ve never played the games, but as an independent series, it’s a funny, brutally exciting, twist-filled mystery box about 90 percent of the time. The world-building, Golden Oldies soundtrack, and retro-futuristic production design are flat-out phenomenal, and the show is at its most engaging during the storylines of The Ghoul (Walton Goggins, the easy highlight) and the mystery of Vault 31. On the other hand, the momentum halts anytime Maximus (Aaron Moten) takes center stage, mostly because Moten has the screen presence and charisma of a potato. Overall, though? A smashing surprise.

UNTAMED: SEASON ONE Starring: Eric Bana, Sam Neill, Lily Santiago, Rosemarie DeWitt, Wilson Bethel, William Smillie, Raoul Max Trujillo, Josh Randall, and Ezra Franky Creators: Mark L. Smith, Elle Smith KATIE Despite its title, Untamed is incredibly subdued. It makes no effort to move away from tropes, following Eric Bana’s gruff cop/detective character with a tragic past, whose drinking problem, no-nonsense demeanour, and unwillingness to work with others make him no less capable at his job. The plot is slightly convoluted and very predictable, and aside from gorgeous scenes of mountains and sweeping forests, it is exceedingly boring. Unfortunately, what stood out most to me is the lack of tension. From the sense of mystery to what is supposed to be the climactic reveal, there’s no excitement or suspense. QUENTIN The problem with the recent glut of moody crime series like Untamed is that they are all trying to replicate True Detective . Or Ozark . Or Mare of Easttown . Or most Taylor Sheridan shows. However, you need more than the algorithm-driven formula of “tortured vibes + grumpy alcoholic sheriff x recognizable stars” to make a good series. In this case, the mystery is almost an irrelevant afterthought to the relentless onslaught of convoluted subplots exploring the various traumas of every single protagonist. It makes for an admittedly decently acted series that doesn't deliver much more than gloominess, unimpactful twists, a predictable ending, and beautiful landscapes.

AVATAR: THE LAST AIRBENDER: SEASON ONE Starring: Gordon Cormier, Kiawentiio, Ian Ousley, Dallas Liu, Paul Sun-Hyung Lee, and Daniel Dae Kim Creator: Albert Kim PRESTON You may enjoy Avatar: The Last Airbender if you are a fan of the anime (or movie), aged 8-18 years old, or if you are the parent of a child under the age of 12 years old…otherwise, uh-uh. Go in with kid-show expectations: over-the-top, cliché, cheesy, CGI and green-screening. It’s atrocious, and the script was most definitely generated by an AI application. This is a love it or hate it situation, and I fall firmly into the latter. I dreaded each new episode, and I only pushed through knowing that I was working selflessly to inform you, my sweet reader. You owe me one *smirk*. KATIE If you haven’t seen the original anime, you could probably enjoy Avatar: The Last Airbender as a pretty average Netflix show and move on with your life. I, however, love the anime, which is superior to this soulless adaptation in every conceivable way. It just feels hollow, with dialogue that consists of characters simply stating what’s happening, drab lighting, inconsistent visual effects, cheap-looking costuming, and a story that is a mish-mash of plots from the original series, which makes it feel like it’s rushing to cover as many of the original episodes as possible in an hour. AMARÚ I never watched the Avatar: The Last Airbender anime, but I watched the new live-action adaptation with an avid fan, so I’ll admit this is a semi-influenced review. I’ll also admit that the CGI and green-screening are fairly atrocious. But hearing that the production design and casting is pretty spot on and recognizing that, somehow, the visual effects enhanced really great action sequences made me focus on what was entertaining. There’s a wonder that fits the more predictable kids’ show aspects, yet it doesn’t shy away from darkness. I appreciate that balance, even if there’s plenty of room for better executed growth.

Previous Next June 20, 2024 WRITTEN BY: PAIGE The saying "art imitates art" is particularly applicable when it comes to the movies I have listed below. While these movies may be fundamentally different on the surface, dressed in a different setting or genre to make them seem like something else entirely, if you peel back the top layers, you will see that they are essentially the same. So, read on to discover some movie pairings that are really just two sides of the same coin! FINDING NEMO & TAKEN The Coin : Overprotective fathers who will do whatever it takes to find their kidnapped child. Despite their apparent differences, these two films have two very important things in common: the characters and the plot. In the dark action movie Taken , an ex-CIA agent goes to find his kidnapped daughter after she is taken by traffickers. This father will stop at nothing to have his daughter back. It sounds familiar, doesn't it? All you have to do is scale back the violence, swap out the ex-CIA operative for a clownfish, move the setting to the ocean, and Bam! …you’ve got Pixar’s Finding Nemo . Nemo's father likewise embarks on a quest to save his kid by any means necessary after he is abducted by some divers on a boat. One travels across Europe on foot while the other swims across the sea to find their lost child. There is just one distinction that truly separates these two movies — the father's species. CARRIE & MATILDA The Coin : Young girls who aren't treated very well by their families end up developing strange powers. Upon initial observation, Matilda and Carrie appear to have nothing in common besides the way the movies are titled, which are the names of the lead characters. One is, after all, a fantasy kid flick, while the other is a supernatural horror film. However, if you take a closer look, you will see an underlying theme that, oddly enough, connects these two bizarre movies together. Matilda and Carrie are both young girls who are mistreated by their family, and both begin to exhibit telekinetic powers. Whereas Carrie adopts a horrifying and violent demeanor, employing her abilities in a more negative manner, Matilda leans more toward the playfulness of the gift, using her abilities in a more lighthearted way. In the end, Matilda finds her “happily ever after” with a new loving family, while shit hits the fan for Carrie on prom night. Under different circumstances, Matilda might have even turned into Carrie. KILL BILL: VOLUME 1 & PROMISING YOUNG WOMAN The Coin : Revenge is a girl's best friend. At first glance, one is an action-packed film and the other is a dark drama comedy, but when you look at the bigger picture, these films are kinda the same. Yes, their tones differ, but they are both stylish movies about revenge that feature exhilarating twists. Also, they are both led by fiery female protagonists that are the self-assured personification of female empowerment, setting out to make things right on their terms. If you strip away the action and gore in Kill Bill and broaden the scope of its vengeance on the one who hurt The Bride most, you’re left with a riveting drama full of humor that is done in a vibrant style approaching the kind of experience Promising Young Woman offers. MEMENTO & 50 FIRST DATES The Coin : Love is a mind fuck. You may be asking yourself, “What in the world do these completely different movies have in common?” Well, it’s simple: love and memory loss. Though they approach the subject in rather different ways, they both study the same affliction. 50 First Dates takes a more comedic approach and avoids drawing attention to some of the most agonizing parts of the illness. In Memento , the illness is shown more as an impassable barrier that a man must overcome in order to find the person who murdered his wife. However, they both provide some understanding of what it's like to have a condition like this and the different ways to cope with it. AVATAR & POCAHONTAS The Coin : Love stories set against the backdrop of colonialism. Close your eyes and picture Pocahontas…except it's the year 2154, she’s blue, and she resides on Pandora. Sound familiar? Avatar , like Pocahontas , is about an outsider soldier with the initials J.S. who has come from a distant place. This man falls in love with the natives’ culture and one of their own, the daughter of the tribe’s leader. The man also is part of the colonialists threatening the land on which the tribe lives for its resources. While one is set in 1607 and the other is set in 2154, both stories conclude in battle, with our main male character leaving his old world behind in favor of a new one. He decides to do whatever it takes to protect his new people and their land. Strangely enough, they are both Disney movies. I guess they like to recycle their stories. GROUNDHOG DAY & EDGE OF TOMORROW The Coin : Time loops are a bitch. Despite the two films' entirely different settings and plots, a few core concepts start to become evident between these two movies. Of course, the biggie is that they both revolve around being stuck in a time loop. Obviously, these two movies have no common ground regarding the premise of their stories, but there are several character traits shared by both main characters after dealing with the time loop. Their responses to being placed in comparable paradoxes are oddly similar, regardless of whether it is a U.S. Army officer reliving every day on the front lines of an alien war or a haughty weatherman stranded in Punxsutawney, Pennsylvania. During this strange phenomenon, both leads undergo some personal growth, ultimately turning out to be better individuals because of the bizarre ordeal. Oddly enough, the leading ladies in both Edge of Tomorrow and Groundhog Day are named Rita, and that can’t just be a coincidence.