Search Results

Previous Next January 23, 2025 WRITTEN BY: NICK AND QUENTIN It's time to talk about posters again (Check out last year's selections HERE ) and some of our favourites from the past year. However, we can't do that without also mentioning the disappointing trend of films simply using a still image slapped with a lazy title graphic. Or the still prominent floating heads aesthetic. But hey, at least we’re getting less of the blue and orange colour pairing... Movie posters can become iconic works of art and, oftentimes, just as memorable as the film they're promoting. It's part of the charm of the overall cinema-going experience and something we can't afford to lose. Thankfully, Nick and Quentin have come to show you that the art of the movie poster is not dead. With that in mind, what posters best elicited a curiosity in the movies they were advertising? What posters best encapsulated what their movies were about? What posters might be hanging on someone’s wall in 20 years? What posters are just damn cool to look at? To be clear, we are only talking about the quality of the poster, not the quality of the movie it represents. So, as such, we aren’t going to bore you with a write up about why we love and appreciate each poster. Just appreciate the art as we let the posters speak for themselves, just like the artists who created them intended. Also, as with last year, we are only listing official marketing materials. So, which one is your favourite?

Previous Next February 23, 2025

Previous December 31, 2024 Next A BITESIZE CHAT WITH MYTHIC QUEST CAST In the lead-up to Mythic Quest’s anticipated third season, Bitesize Breakdown held a roundtable discussion with the cast of Apple’s hit series (Charlotte Nicdao, David Hornsby, Danny Pudi, Imani Hakim, Ashly Burch, Jessie Ennis, Naomi Ekperigin) to talk about their characters, experiences on set, and what to expect in the coming season and beyond. BB : I want to thank everyone for taking the time to sit down with Bitesize Breakdown today. I know we don’t have a ton of time, so I’d like to jump right in if that’s okay… The video game industry, and video game community in general, has a notorious reputation for being quite misogynistic. With that in mind, as writers and actors in such a diverse ensemble, can you discuss some of the reactions you've had to your characters and their arcs? What kind of steps have you taken to throw that reputation on its head a bit? CN : I'm ashamed to say that, before I started working on this show, I had a really limited understanding of what the gaming community looked like. I know that there are definitely parts of that world that are maybe not the way that I like to operate, but I think that's true of almost every community. One thing I loved learning about the video game community, especially from Ashly (Burch), who really taught us a lot about what that community looks like, is it's extremely diverse. There are so many different kinds of games and so many different kinds of fandom within this world. Personally, my experience in making this show has been nothing but positive, and I think that's really a reflection of what my experience of that community has been. IH : Yeah, and I'm grateful to be able to play a character that isn't necessarily represented or that we don't see very often. It's nice even to have a majority of my scenes take place with another woman who's in that gaming space as well. So, it’s nice to represent the voices that aren’t really heard and, you know, bring humor to it. AB: I've had people say that they were triggered by it. Actually, in particular, there is a moment in the first season where Ian (Rob McElhenney) comes in and knocks a bunch of stuff off of a desk because he's having a tantrum, basically. And I had a creative director say, “that was a little bit too close to home.” *laughs* JE : Triggering in a fun way *laughs* AB : *laughs* yeah, triggering in a fun way. We're re-traumatizing the games industry, as is our want. *laughs* Um, yeah, it's fun. I think it's actually very fun for people in the games industry to have this show because it's both accurate to their experience and it's also a love letter to that industry. So, it's a combination of being both “Oh, God, this is cringy. I can't believe this is so close to how my life is,” but then also…I mean, for me, as someone that comes from the games industry, it's so fun to see it represented in a show with all these amazing people portraying these characters. It just feels like it gives us legitimacy. And it feels like we're a real industry, which, often, people don't really see games that way. It's been a really good experience for that. DH : I think…we're not looking to necessarily throw any reputation on its head, but I think we're looking just to use what's out there and maybe shine a light on the hypocrisy of certain things, both sides of things. The struggles… the “Oh, what do we do? These are obviously well-intentioned people, yet there's a culture here that we need to… you know, none of us want to be culpable to that, so how do we react?” You know, with women in the workplace…they don't have many women or, like you said, the misogyny. Or dealing with a big social issue that pops up in your video game. It's literally like a game…you have these big issues that are popping up, and how do you deal with that? So, I think for us, it's that the video game world felt a little unexplored in the TV space, and this was a chance to not just make a show about funny characters interacting in a workplace, but the specific stories you can tell that maybe haven't been as explored, stories that bring in some real-world issues and how they deal with it. That was appealing to us. BB : You mention specific stories…I think some of the best episodes have been the breakaway episodes. You know, the backstory of C.W. Longbottom (F. Murray Abraham), the Season One episode “A Dark Quiet Death.” You kind of pull yourself out of the serialized storyline to bring in new actors and characters to make a little mini-movie, so to speak. How are you so successful at making those so impactful, especially with only 30 minutes? DH : Oh, well, thank you. I think we lead with “what does the story of the season need?” because, obviously, there are a million topics you could choose to do for a breakaway episode. What do we want to reveal to the audience about which characters and why? And how does it connect with our present-day season? So, that's always the place we start from. Do we even want to do one this season? You know, I think we look at what's different and what's repeating ourselves. We want to not repeat ourselves, so artistically, I think we're looking for that challenge and the thing that's going to feel new…but not just for new’s sake, but what's going to make an impact. And how do they make an impact? I think it’s because we're trying to ultimately dig underneath the characters and connect, have our audience connect with the emotion of the characters in those specific episodes. If they are impactful, I think it's because we focus on the base desires that these characters are dealing with. And, you know, people find that accessible. BB: Absolutely, they've been fantastic. Can we expect to see more backstory or breakaway episodes for other characters as we go forward? DH : In season three, we do another breakaway episode because we felt it was important to shine a light on Ian and Poppy’s (Charlotte Nicdao) relationship to understand our characters better, to understand where they came from. We look at what their lives were before they met. That seemed like a ripe area and fertile ground to help understand our main characters better. CN : We got to make a Christmas episode this season, which was really fun. I'm really excited for people to see that because it's such a tradition of our medium, and it was the first time I've ever made a Christmas episode. IH: Yeah, you watch your favorite shows on tv, and you hope you get to experience that same [holiday] magic because Christmas episodes are so fun! CN : I think Mythic Quest knows how to do a special episode. I feel confident [in saying that], so I'm very excited for people to see the Christmas episode. BB : Speaking of Ian and Poppy, my read is that you've kind of gone out of your way to make sure it's more of a sibling dynamic than a “will they, won't they” relationship like in typical sitcoms. Can you talk a little about their dynamic? CN : Poppy and Ian are really trying to navigate a new space, which is one where Ian doesn't automatically have more power than [Poppy] does, and I think Ian certainly struggles with that. Although, when we come into Season Three, we see him really doing his best to be a good support for Poppy. But the thing that I found most interesting about the new dynamic is that Poppy has already proven in Season Two that she hasn't really developed the skills to be a boss, you know, to run things. She crumbles under that pressure in Season Two, and in Season Three, it's like she's determined to prove that she can really do it, often to her own detriment. I do think that she makes some strides in creating something that she's proud of, but I think that she does it at a high cost to herself and to very funny results. DH : You know, I don't know if the audience wants a “will they, won't they.” I don't know. We do what we think works for the story. I think, just speaking for myself, I think that it’s more powerful to have a relationship that doesn't necessarily turn to romance but shows the complicated dynamic of both a creative artistic partnership and a friendship. That in itself feels like it could use the respect it deserves as a storyline to tell, and that, in a sense to me, could be more powerful than a “will they, won't they.” BB: I absolutely agree, and I think Mythic Quest is better for that, not falling down the rabbit hole of typical tropes. DH : No, totally. And a 14-year-old might disagree, wanting to see them make out *laughs*, but I don't know. We feel it's more powerful to see them as, you know, that push and pull of the respect they have for each other, but also the sort of deep, intrinsic difference that they have too. BB: Switching gears if I may…Danny, I recently described your character, Brad Bakshi, as being like Abed [from Community ] via Bret Easton Ellis…kind of like American Psycho Abed. Was that a decision you made or just something you kind of fell into because you played Abed for so long? DP : *laughs* I've never heard that, so I will say that's new. But I like it, I think it's interesting. I don't know. I mean, I think there's something fun about playing a character who is hyper-focused and has a plan. You know, there's this plan, this meticulousness that I think maybe has some of that American Psycho feel there with Brad. I think that's just something that I talked over with [show co-creator] Megan Ganz, who also worked on Community so she was familiar with me as a performer and I think we have a little bit of a shorthand, when we were kind of developing this role and working in this world together. And I think some of that stuff is just, you know, reading what the writers write, then kind of putting it into my body. Personally, my visualization isn't American Psycho , it's Wile E. Coyote. *laughs* That was the first image that popped in my head when reading and thinking about this role, but I'm glad it's resonating in that way too. *laughs* BB: Jessie…I have a question for you from one of our readers. Who do you think your character, Jo, enjoyed working for the most? And, dead or alive, who do you think would be her dream mentor? JE : Hmm, probably the Dean at the all-boys military academy she went to, I think that would be her dream mentor. And who did she like working for the most? I think she really wanted to work for Ian in the first season. I mean, she did some work for him. Was it requested of her? Was she technically working for him? Was she being paid to work for him? Absolutely not. I think she loved working for Brad, but she was so full of herself and a little too big for her britches there. So, she kind of scorched that Earth. Now, she's really channeling her energy into working for David (David Hornsby), who she recognizes is not a very powerful man, but she has tricked herself into caring. BB : David… a lot of people know you as Rickety Cricket on It's Always Sunny in Philadelphia . For me, when I look at Always Sunny , it feels kind of like a raw rock band playing in a small, one room-venue…you know, a more visceral feeling…whereas Mythic Quest feels like the polished arena tour. As executive producer and writer for both shows, how is your approach different for each show? DH : Good question. I mean, Sunny and Mythic Quest are very different shows. I think they're going to retain some similarities, right? How we interact with each other; in some ways, how we work together behind the scenes. But Sunny is, you know, in a sense, a live action cartoon. It's very broad characters, very satirizing. Characters, who never learn, satirizing, you know, the American experience in different ways. I think with this show… if anything, it might be a reaction to the other. So, over there, we're writing that kind of show, then with Mythic Quest , we want to craft something with more pathos that is very funny but tries not to go to the same wells of comedy or dynamics. And for me, just having my face without a prosthetic on it is always a bonus. *laughs* BB : Also, speaking of Cricket, I think your character in Mythic Quest , David Brittlesbee, is almost like a white-collar Cricket, where the world hasn’t really been his friend so much. What draws you to that kind of character? DH : *Laughs* I think every project has a little doorway that you kind of open up, and you don't quite know what's behind it. There's just something that attracts you to open that door. So, for one, I think it's working with the people that I work with. On Sunny , in a slightly different tone of show, I can also still do something that's maybe close to my area of comedy. But, in the beginning [of this show], we explored, “Oh, should I play Brad? Should I play David? Have we seen me do something too much like David in some aspect of Cricket, etc.” I think for this, I wanted to explore a character that is in a similar realm to something in my wheelhouse. But we will reveal more things as the seasons go, right? So you can kind of play within that new sandbox and still not do something completely different. I think looking ahead, it would be fun, not just in this show to do something different, but in a different [role] to do something that feels very different. I mean, Good Girls was a chance to do that, but I think that's always the challenge. You want to stretch yourself, but sometimes you don't want to go too far afield because you want to just take it step-by-step in a way. It's always fun to challenge yourself with new things. BB: Naomi… on screen, you're often the only sane one in the madhouse. Does it feel that way when you're on set? Do you sometimes look over and wish you were having as much fun as the clowns? *laughs* DP : *Raises a fist in fake anger* Careful!! *laughs* BB: *laughs* With all due respect! NE: *laughs* When we're shooting, I’m the craziest one, okay? When the cameras aren't rolling, I'm like, “Is it good? Did you like it? Is everyone okay?” So, you know, what I'm telling you, Quentin, is that I am ACT-ING, okay? *laughs* I am truly mad, and it is so fun to play a character who has it together. Oh my god, what fun to pretend to have your -ish together. DP: Yeah, she's only vocalizing what we're all feeling on the inside. We know each of us are unraveling quickly. *laughs* Check out Season Three of Mythic Quest, premiering November 11th on Apple TV+. Interview conducted on November 2nd, 2022 by Quentin Lester. Photo Credits: Apple TV+

Previous Next October 9, 2024 WRITTEN BY: AMARÚ The Ocean ’s franchise is one of my top three franchises of all time. In fact, as I grew up realizing the darker, grittier, more gangster crime films of the Scorsese ilk, while objectively amazing, were not films I enjoyed rewatching after a first go ‘round, I simultaneously was going through my fifth, sixth, and 27th rewatch of George Clooney, Brad Pitt, and crew having an absolute blast showcasing the flashier side of crime. So, when 2024 came with two crime films featuring Ocean ’s alum and vibes (The Instigators with Matt Damon and Casey Affleck, and Wolfs with Clooney and Pitt), I was more than happy to visit a new criminal underworld with a familiar crew. A crew that, if any combination of them is doing a heist, I will watch sight unseen. More broadly speaking, though, heist movies are simply one of my favorite types of movies, and the main reason is the camaraderie, as well as the specific dynamics and individual roles, of the crew doing the heisting. Given that, I wanted to scour the history of cinematic stick-ups to put together a heist crew that lives up to (or surpasses) Danny Ocean (Clooney) & company. Join me as I build my ultimate six-man heist crew, consisting of The Con Artist, The Demolition, The Tech Support, The Driver, The Right Hand, and The Mastermind. THE CON ARTIST: EAMES (TOM HARDY), INCEPTION Without someone on the inside, there’s a very good chance you aren’t even getting in the door. The Con Artist, otherwise known as your Inside Man, is THE first step in planning out your heist, so this must be the first person chosen for the team. For me, there isn’t a better choice than Eames. Yes, his cons technically take place in the mind, but look at what he did before he ever entered a dream. He did a massive amount of research on Robert and Maurice Fisher (Cillian Murphy and Pete Postlewaite, respectively), and he stalled the Cobalt enforcers before they could capture Leonardo DiCaprio’s Cobb in Mombasa. Consider those examples proof that he is just as convincing and physically capable outside of the mind as he is inside it. Plus, the attention to detail needed to convince a person’s brain that you carry the cadence, stride, mannerisms, and looks of another person is something that is essential to gaining the trust of your target. Eames not only has the mental acuity and charm to get your crew inside, but also the work ethic to make sure you know every aspect of that target. BACK UP IF DEAD OR IN JAIL : Frank Abagnale Jr. (Leonardo DiCaprio), Catch Me If You Can (and real life) THE DEMOLITION: JOE BANG (DANIEL CRAIG), LOGAN LUCKY Truth be told, I was having difficulty trying to figure out if I wanted to add The Muscle, The Safe Cracker, or The Weapons Expert as the most physical piece of this heist crew puzzle. In the end, I landed on The Demolition, mostly because you can blow up a safe you can’t crack, you must be fearless to deal with death at any moment, and if that slightly crazy person is going to deal with bombs, they most likely will be able to deal with a few firearms and other weapons as well. The person I want doing all of that with my crew is the right little bit of brave (aka crazy) and the exact correct amount of explosive, which puts Bang at the top of the list. He can create small and large explosives from damn near anything (two bleach pens and some gummy bears, to be exact), he can crack safes if bombs are too conspicuous, and, dammit, he is just fun to be around. A man of science AND a man of entertainment is exactly what’s needed to break the walls of a safe and break the tension of a heist. BACK UP IF DEAD OR IN JAIL (OR IF YOU CAN’T BREAK BANG OUT OF JAIL) : Darby (Dale Soules), Lightyear THE TECH SUPPORT: LUTHER STICKELL (VING RHAMES), MISSION: IMPOSSIBLE Currently, it is, The Year of Our Lord, 2024. There is no security system in the world that is not using some sort of technological advances to keep their booties safe. However, for those who are smart, there are going to be analog-based safeguards to back up the most technologically up-to-date security systems, which means there are legions of young men and women making it their life’s mission to hack them. That’s why I need someone with 30+ years of experience both inside and outside the law. A person who can hack security systems, break into government facilities, stay calm under the pressures of a ticking clock, guide crew members through labyrinths of corporate offices, and utilize a multitude of high- and low-tech devices to fit every single technological edge. Stickell is that guy for every job. Let’s not forget that he has been disavowed just as many times (if not more) than Ethan Hunt, yet he has continued to prove time and time again that he knows how to win against all odds. Plus, he is on the automatic shortlist for probably the second most important member of the crew behind its mastermind (see below). BACK UP IF DEAD OR IN JAIL : Lyle (Seth Green), The Italian Job THE DRIVER: RANDALL “MEMPHIS” RAINES (NICOLAS CAGE), GONE IN 60 SECONDS There are certain specialists in a crew you can get away with not having: a Grease Man, a Gunman, a Financier, to name a few. However, you always, always, ALWAYS need a getaway driver. Someone who can take anything on wheels to get you from point A to point B, not only in a timely manner, but also in one piece. With this being a rule and not an exception for all heists, there are plenty of fictional drivers that could feasibly fill this spot. My personal favorite is the one who is reluctant to do it unless absolutely necessary. He has put his criminal days behind him to live a normal life because he knows the dangers of stealing, and more importantly, the dangers of high-speed getaways. For me, that’s Memphis. He becomes one with every vehicle when he gets behind the wheel, knows the ins and outs of each part, and can maneuver in tight spaces as well as large freeways and makeshift ramps. There may be more technically skilled stunt drivers on the market, but I don’t think there is another driver I would trust more to make the right decision behind the wheel than Raines BACK UP IF DEAD OR IN JAIL: Miles “Baby” (Ansel Elgort), Baby Driver THE RIGHT HAND: LOU MILLER, (CATE BLANCHETT), OCEAN’S 8 The second most important member of the crew, maybe even the first depending on the leader, is The Right Hand. This member is the point person that most of the crew look to on a day-to-day basis while The Mastermind is out doing mastermindy things. They know almost everything that’s happening at any point of the set-up, heist, and getaway; they are a jack-of-many-trades; and they are the glue that holds the ragtags together. Above all that, though, they are the “No” man. They are there to tell the leader when their head is too far up their ass, the plan isn’t going to work as conceptualized, or when revenge is risking the entire operation. Lou is never afraid to be the “No”… woman. She knows she could run the crew if she wanted, but her loyalty and friendship are much more important than her ego. She is there to drop everything (even her own operation) to be there for her partner, to tell her partner when she is in over her head, and to organize the back-up to the back-up’s back-up when all other back-ups fail. Plus, everyone likes her. When Willy Bank (Al Pacino) threatened Danny Ocean with “people who really know how to hurt,” Ocean highlighted how that wouldn’t work because he knew all the guys Bank would hire, and “they like me better than you.” That level of likability and loyalty are going to get you much further in this game than just about anything else, and Lou has it in spades. BACK UP IF DEAD OR IN JAIL: Luis (Michael Peña), Ant-Man THE MASTERMIND: ASSANE DIOP (OMAR SY), LUPIN The only member of the crew not from a film, Assane Diop can do all of the jobs mentioned above and more, and quite possibly do them more efficiently, less violently, and with greater success. He has been the mastermind of the most elaborate heists in all of Europe for decades, yet he hasn’t been caught. He is charming, intelligent, physically capable, a master of disguise, and can see five to ten steps ahead of just about everyone, doing all of this while garnering the loyalty of fellow criminals, family members, and even police detectives that initially were sent to capture him. The crew needs to be confident in the person who puts the plan together, believe in their conviction, understand and accept their motivation, and know that they have thought of every possible scenario that can and will go wrong before the first heist member is even put in place. Nobody checks all those boxes more than the student of the ultimate fictional thief, Arsene Lupin, nobody checks those boxes with as much charm and loyalty to his family, and nobody is better equipped to be a leader of the ultimate heist crew than the ultimate gentleman thief. I’d follow Diop into a criminal lifestyle confident I would make it out better on the other side. BACK UP IF DEAD OR IN JAIL : Dalton Russell (Clive Owen), Inside Man

Previous Next September 26, 2024 WRITTEN BY: QUENTIN Another film festival and another week of spending way too much time in a cinema is in the books, and you know what? Fantasy FilmFest just might go down as one of my more enjoyable festival experiences. Sure, it’s not as prestigious as Cannes or Venice, and it doesn’t have the sheer volume of blockbusters as Toronto, but it was easy and stress-free. No waiting in lines for entry. No logging into a ticket portal first thing in the morning to participate in a mad dash to claim tickets. No airport security. No hotels. Just drink a beer (this is Germany, after all), watch a movie, go home. If only all festivals could be so chill. As for the movies, this probably was the most consistent festival I’ve covered. It obviously had some amazing entries, which you can read about below, but even the few weak entries weren’t outright terrible. Hell, my ranking below doesn’t hit “middling” territory until around #15. But again, maybe the lack of stress and not being constantly “on the go” just allowed me to appreciate the films a bit more. Either way, I look forward to covering Fantasy FilmFest, as well as Fantasy FilmFest White (January) and Fantasy FilmFest Nights (April) for as long as they will have me. Now, let’s get to that ranking… 24. BREATHING IN How do you review a film that is so reminiscent of another film you dislike, especially when the film you dislike is somehow revered? Is the new movie actually bad, or just not your jam? Is it a poorly done ripoff, and you can’t tell the difference? Hard to say, but that’s where I am with Breathing In , a movie that feels very much like a knockoff of The Witch (a movie I strongly dislike). Both are slow-burn, candlelit, folk-mystery bores that never engage. In fact, in Breathing In , when one character repeatedly says, “I must not fall asleep,” I felt that struggle in my soul. 23. INTERSTATE On paper, Interstate , a movie about a hitman trying to get out of the game, should be right up my alley. It has the same writer as the extremely underrated The Shallows , and festival materials reference The Godfather when highlighting it. However, I struggled to connect with it despite a few striking scenes. I admit that perhaps the slow pacing, genre mixing, and subtitles just didn’t mesh well enough to rope me in, but once it unexpectedly went supernatural, I was mostly just waiting for the 90-minute movie to end. It will probably work for some people; it just didn’t work for me. 22. A DIFFERENT MAN A Different Man is the type of not-great oddball movie that A24 stans will champion anyway just because it’s from A24. Granted, it has a lot on its mind, asking thought-provoking questions about beauty, vanity, and self-esteem. It also features strong performances, particularly from Adam Pearson. However, the characters, especially Sebastian Stan’s Edward, make too many questionable decisions, which ultimately results in a very frustrating viewing experience. On top of that, it’s a bit of a slog, and the ending provides no catharsis or satisfaction. I appreciate what writer-director Aaron Schimberg wants to do, but he doesn’t do it well enough to make the movie recommendable. 21. WAKE UP Wake Up doesn’t do anything to stand out amongst the overcrowded genres of “survive the night” slashers like Willy’s Wonderland or “you picked the wrong house!” thrillers like Don’t Breathe . Aside from one scene in neon blacklight, the kills, although super bloody, aren’t very creative, mostly relying on a “stab, stab, kill, kill” mindset. Perhaps worst of all, the Gen-Z activist victims are wholly unlikeable individuals who make the dumbest decisions, while the security guard doing his job hunting them is a rage-filled weirdo. If you aren’t rooting for the victims to not die, or for the security guard to carry out clever kills, what’s the point? 20. DARK MATCH Given its presumably small budget and indie vibe, it’s hard to be too critical of Dark Match , which has a lot in common with Green Room . Sure, the performances won’t blow anyone away, the story is extremely underwritten, and it requires some inside knowledge of professional wrestling as it casually drops terms like “kayfabe.” That said, there is enough brutal and bloody carnage to keep genre fans entertained for 90 minutes, especially if those fans also love pro wrestling. This review originally posted with Bitesize Breakdown’s coverage of the 2024 Fantasia International Film Festival. 19. STEPPENWOLF Steppenwolf was a disappointment, but that is almost entirely because my expectations were way off base. If you recall, I compared it to John Wick and Sisu in my Fantasy Filmfest preview; however, while featuring similar levels of brutally bloody violence, the tone is completely different. Steppenwolf is bleak, sharing more in common with You Were Never Really Here than the fun, stylized action movies mentioned above. Also, that somewhat depressing tone is muddled because it also tries to shoehorn light humor into the existential commentary about people’s inhumanity, which rarely works. Perhaps it will be better on the rewatch with my expectations recalibrated. 18. ESCAPE FROM THE 21ST CENTURY Escape from the 21st Century is a tremendous amount of fun until it really, really isn’t. First off, it has style to burn, looking like Scott Pilgrim vs. The World on quaaludes, mixing colorful animation, beautiful backgrounds, and video game action to create an extremely vibrant world. It even has similarly excellent needle drops and the same type of humor, which is hilarious at times. However, and I admit there could be something lost in translation since the movie is in Mandarin with English subtitles, the Everything Everywhere All at Once -inspired story is confusing and convoluted as hell, making it quick to wear out its welcome. 17. AZRAEL I’d recommend going into Azrael expecting nothing more than surface-level thrills because, if you think too hard about the vague and inconsistent world we’re given, it ruins the whole affair. Samara Weaving is an excellent and capable lead, once again proving that she should be near the top of any modern Scream Queen list (especially considering this movie has zero dialogue). However, too often I was left asking myself, “wait, but then how/why…?” Unfortunately, this results in a story that is hard to become invested in. There is plenty of bloodshed, though (and some terrific cinematography), so there is that to go along with Weaving. 16. BLOOD STAR Considering Blood Star is from a first-time director, first-time screenwriters, and features two virtually unknown leads, it’s hard to call the film anything but a success. Sure, it’s flawed, mostly in pacing (one prolonged, mid-movie, exposition dump sequence feels extremely out of place), but flaws are part of B-movie grindhouse flicks’ charm. It’s not required viewing, but I had fun with it, and John Schwab is particularly good as the villainous sheriff. More than anything, though, it left me curious to see what director Lawrence Jacomelli does in the future because Blood Star is a very sturdy debut. 15. SPEAK NO EVIL Had I gone into Speak No Evil completely blind, it likely would have ended up with a higher rating. The movie is built on a delightfully unhinged, “keep ‘em guessing” performance from James McAvoy, except if you’ve seen any of the trailers, which (in Germany, at least) were shown nonstop, there isn’t much to guess. The marketing pretty much lays out the entire movie for you. So, the first hour, which should be a slow-burn of simmering tension, just exists before lazily heading into a finale filled with generic and standard home invasion tropes. McAvoy is great, but the trailers shot this movie in the foot. 14. PROJECT SILENCE Project Silence doesn’t do anything to reinvent the wheel, but it’s entertaining enough in its own right to satisfy genre fans. The general idea here is Dawn of the Dead , but instead of zombies, it’s murderous dogs; instead of a shopping mall, it’s a collapsing bridge. Again, nothing featured is totally original, to include a comic relief character and a government conspiracy aspect, but the overall movie works because of the effortless character development and the ensemble’s easy chemistry. It won’t change your world, but if you like the “trapped by zombies” subgenre, this plotline-adjacent offering will scratch an itch. 13. A PLACE CALLED SILENCE A Place Called Silence is reminiscent of Ashley Judd’s filmography from the late ‘90s and early 2000s, namely the psychological thrillers like Kiss the Girls and Twisted . That said, Silence features enough twisty subversions and suspenseful set pieces to inject new life into a somewhat tired genre. Although I didn’t love parts of the ending, and I don’t understand why there is so much Jesus Christ imagery since there isn’t any obvious religious component at play (it’s too blatant to be coincidence), I was thoroughly engaged throughout. Side note: apparently, this is a remake of a 2022 movie, both by the same director, which is just odd. 12. SLEEP Although I’m unsure what director Bong Joon-ho saw in Sleep to call it “the most unique horror film and…smartest debut film I've seen in ten years,” that doesn’t mean it’s not still very good. At barely 90 minutes, Sleep does a great job of creating escalating tension and claustrophobia before arriving at a wild finale that provides answers in unexpected ways. Jung Yu-Mi gives a terrific performance as a mother descending into sleep-deprived madness, something I’m sure many parents (or anyone who has shared a hotel room with me and my snoring) can relate to. Overall, an effective and subversive chamber piece that’ll keep you guessing. 11. HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON When people talk about discovering hidden gems at film festivals, Humanist Vampire Seeking Consenting Suicidal Person is exactly what they are talking about. The most authentically indie-feeling movie at Venice Film Festival last year, Humanist Vampire puts a modern spin on vampire mythology to deliver a fresh, funny, and darkly sweet coming-of-age story that touches on familial pressure, adolescent expectations, teen depression, and young love. In the Q&A that followed my screening, director Ariane Louis-Seize (who won the GdA Director’s Award at Venice) referenced Let the Right One In and Lady Bird as inspirations, and I can’t describe it any better than that. This review originally posted with Bitesize Breakdown’s coverage of the 80th Venice International Film Festival (2023). 10. THINGS WILL BE DIFFERENT Considering that Justin Benson and Aaron Moorhead are executive producers on Things Will be Different , I should have known what I was in for. But they were also part of the draw, so what can you do? In the end, I was given an extremely compelling puzzle-box mystery that had me on the edge of my seat, eager for whatever answers it may deliver. Except, it doesn’t really give any answers. It gives closure for these excellently acted characters and this specific story, but the broader mysteries are left floating in the ether. So, overall, it’s an engaging (and mostly worthwhile) yet frustrating experience. 9. SCARED SHITLESS When you have a movie about a plumber saving people from a genetically engineered, blood-thirsty creature that is living in a building’s plumbing system — and it has a puntastic title like Scared Shitless — you have a certain expectation. Thankfully, director Vivieno Caldinelli and the entire cast, but especially Steven Ogg, understood the assignment. This is a hilarious and bonkers throwback to 80s movies like Critters , but it’s done so skillfully that it belies its apparent Midnight Madness, B-movie inspirations. Full disclosure: I saw a 10:45pm showing of Scared Shitless after more than a few beers, and for maximum fun, I highly recommend you do the same. 8. PÁRVULOS First off, Párvulos is not at all the movie I was expecting from the poster, which makes it look like a nightmarish zombie movie in the vein of Netflix’s Black Summer . While the movie certainly gets dark towards the end with a fair amount of blood, Párvulos is an almost sweet and surprisingly funny coming-of-age story about familial bonds. The washed-out filter in which the film is shot (another poster deviation) adds an atmospheric, fairy tale vibe that helps keep even the grimmest moments from overpowering the heartfelt, hopeful, and bittersweet themes at the story’s core. All in all, an emotionally resonant surprise in every way. 7. THE WELL The Well is a throwback to ‘70s European horror that feels authentically vintage across the board. The direction, performances, score, cinematography, and production design legitimately make you feel like you’re watching a classic horror movie. The story structure of two plotlines that ultimately merge also works because it gives the viewer a creepy, supernatural, ghost aspect and a grisly, Hostel -style gorefest…and that gorefest goes hard in the paint. Combine all that with terrific practical effects and some nightmare-fueled character designs, and you end up with one of the year’s better horror movies and hidden gems. 6. KILL Although it may not add anything new to the revenge genre, that doesn’t mean Kill isn’t a violently bloody-knuckled blast. I could rattle off a list of movies it’s derivative of, but the easiest comparison is The Raid meets Bullet Train due to its confined setting, excellent fight choreography, stylized hyper-violence, and refusal to let you catch your breath. On top of that, there are just enough emotional stakes at play amongst all the gleeful carnage to add weight to the orgiastic mayhem. Kill is one of the year’s best action films, and I’d love to see it propel Lakshya to being the next Jason Statham. 5. SAỶARA Saỷara may be the darkest, most visceral, and most unrelenting revenge movie I’ve ever seen. This isn’t a stylishly done popcorn movie like John Wick , but instead a movie full of brutal scenes that are hard to look away from. Although slow to start, once the inciting incident happens, it’s a merciless string of bloody carnage that had me repeatedly saying “Goddamn.” If you’ve seen Irréversible , you know how rough that scene is, and Saỷara ’s entire second half elicits similar reactions. That may not sound enjoyable, but the level of catharsis provided by the eventual comeuppance is worth it (doubly so for Jiu-Jitsu aficionados). 4. THE WASP Although there is the subtle air of a Lifetime movie in the early goings, The Wasp is elevated by captivating performances from Natalie Dormer and especially Naomie Harris. The way Harris is able to convincingly change demeanors on a dime is super impressive, and it’s perhaps one of the better performances I’ve seen this year. On top of that, the tight script combines just enough predictability with bombshell twists to keep viewers on their toes, all while balancing escalating tension and dark levity. You can definitely tell it’s based on a stage play, but that doesn’t make this Hitchcockian psychological thriller any less effective. 3. TWILIGHT OF THE WARRIORS: WALLED IN With thrilling and incredible video game-inspired fight choreography (especially during the finale’s wild “Final Boss” fight) and a decent amount of character development, Twilight of the Warriors: Walled In is a total blast! The 80s throwback vibes and gritty noir-ish feel only aid in making this one of the best martial arts movies I’ve seen since maybe The Raid series (admittedly, I haven’t seen a ton of recent martial arts movies). The story beats strain credulity at times, but if you’re like me, you aren’t coming to a movie like this for the story, and Warriors more than delivers the carnage we’re all here for. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 2. THE SUBSTANCE If you get squeamish with gross body-horror imagery and flat-out disgusting sounds, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. This review originally posted with Bitesize Breakdown’s coverage of the 77th Cannes Film Festival (2024). 1. STRANGE DARLING If you ever need a prime example of a movie that expertly subverts expectations, look no further than Strange Darling . Playing a bit like Sanctuary but with the throwback horror motifs of Pearl and The Texas Chainsaw Massacre , this is a twisty, tense, and thoroughly engaging thrill-ride. It’s also a great example of how to use non-linear storytelling to maximum effect. You’ve probably read my praise for Kyle Gallner in the past (he does solid work here too, no doubt), but he’s ultimately overshadowed by Willa Fitzgerald, whose performance drives everything happening on screen. Kudos to writer-director JT Mollner for creating something special with this one. This review originally posted with Bitesize Breakdown’s coverage of Fantastic Fest 2023.

Previous Next May 12, 2023 WRITTEN BY: NICK Answers to questions like “what is your favourite food?” and “what’s your favourite song?” change frequently, but for me, the answer to “who is your favourite actor?” has always been Michael J. Fox. Maybe it’s because, like me, he came from a small town in Canada, or maybe I was just introduced to his films during my formative years; either way, I have always gravitated to his relatability on the screen. He has a mix of comic sensibility and unmitigated charm that makes it extremely difficult to dislike him in any of his roles. It's also notable that Fox has been able to leave a lasting mark on both film and television before that was the “in” thing to do. He has won multiple Emmys, Golden Globes, and even a Grammy. The list below has 10 entries, but I didn’t even touch his voice work (Stuart Little , Atlantis , Homeward Bound ), Plus, there are numerous other projects I could have gotten into, be it well-regarded films like Casualties of War and The Hard Way or his acclaimed turns in series like The Good Wife and Scrubs . There is just a wealth of titles to choose from and they didn’t make the cut. Unfortunately, with his Parkinson's battle having such a drastic effect on his ability to work, we'll never know just how many more gems there could have been. For me, though, everything on the list below is timeless and will always be something I can revisit. Plus, luckily, his life and career are being celebrated with Apple TV+'s fantastic new documentary, Still: A Michael J. Fox Movie , which examines his life both before and after his diagnosis through archival footage and the words of the man himself. So, sit back and enjoy! No need to fasten your seatbelts either…because where we're going, we don't need roads… 10. FAMILY TIES (1982-1989) Beyond a certain time-traveler that will pop up later on this list, Alex P. Keaton is likely Fox’s most well-known role. It’s through Keaton that Fox really honed his craft and comedic timing. What you probably know is that he played a high school student well beyond his years that was unwavering in his Republican ideals (before that was such a dirty word), and he often clashed with the rest of his family because of his opinions. What you may not know is that the series was meant to focus on the former hippie, liberal parents, Steven and Elyse Keaton (Michael Gross and Meredith Baxter, respectively). However, Fox's coming out party changed that. The focus turned to their son, and an iconic career was jump-started. Running for seven seasons, Fox played the role through the majority of his twenties, so you had the opportunity to watch him grow alongside his character. 9. RESCUE ME (2009) Few of Fox’s roles can be classified as edgy, but one of the outliers is Dwight on Rescue Me . This wheelchair-bound substance abuser is, simply put, an asshole. Brought onto the series for a multi-episode arc, Dwight gave Fox an opportunity to play against type, and it’s clear how much fun he is having with the role, which is about as much fun as the audience has getting to watch every foul-mouthed bit of dialogue he spews. He even has a goatee! It’s no surprise this crass performance won Fox his fifth Emmy. 8. THE SECRET OF MY SUCCESS (1987) Whether it be the slow-motion daydream montages or the over-the-top characters, The Secret of My Success is such a wonderfully 80s film. The premise of a small-town guy somewhat aimlessly moving to the big city is nothing new, but the charm of Fox is what makes this version work. He excels at displaying a confident charm that never comes off as smug or arrogant, which makes it impossible not to root for the character of Brantley Foster as he rises through the ranks. This movie is a joy to watch and makes for a great double feature pairing with Ferris Bueller’s Day Off . 7. TEEN WOLF (1985) Maybe it’s because I was fairly young when I first saw it, but Teen Wolf holds a special place in my heart, and this over-the-top puberty picture is dripping with entertainment value. It’s pure 80s, from its characters (who can forget utterly useless coach Bobby Finstock (Jay Tarses)?) to its iconic moments (roof surfing, anyone?). Watching Fox’s Scott Howard struggle to come to terms with his lupine side could’ve been ridiculous, but it’s done in a way that parallels the high school experience to make it relatable despite the outlandish premise. 6. DOC HOLLYWOOD (1991) The cast of Doc Hollywood is perplexing. You have stage legends like Frances Sternhagen & Barnard Hughes, and early performances from the likes of Woody Harrelson & Bridget Fonda. It’s Fox, however, that ties it all together. His brand of charm makes it very hard to dislike his character, Ben Stone, and his chemistry with Julie Warner makes for one of Fox’s best on-screen relationships. The only thing more enjoyable than watching him fall in love with her is watching him fall in love with the town of Grady. All in all, another relatively simple story that is elevated by the performance of Fox. 5. THE FRIGHTENERS (1996) I forgot how good The Frighteners is until I rewatched it in preparation for this list. My personal favourite Peter Jackson film is filled with unique and bizarre characters, but it works as well as it does because of Fox. Seeing him play a swindler is perfect casting as it allows him to manipulate his charm to be mischievous while also giving him some more work on the dramatic side of things. Performance-wise, this must be considered one of his best, and it really spotlights the direction his later film career could have gone were it not for his diagnosis. 4. BOSTON LEGAL (2006) A highlight of his latter career, Fox’s multi-episode stint as cancer-stricken Daniel Post gave him a character that fit perfectly within the dramedy style of Boston Legal . The union of Fox and writer David E. Kelley’s dialogue is a match made in heaven because you get the same quick humour you have learned to expect from Fox but with a flavour of tragedy as well, something that landed a little harder considering this was one of his first roles post-diagnosis. It was a relatively short stint (only six episodes), but a memorable one as it led to his tenth Emmy nomination. 3. CURB YOUR ENTHUSIASM (2011) & THE MICHAEL J. FOX SHOW (2013-2014) I feel these two need to be roped together since both are Fox giving viewers a window into his life with Parkinson’s while still being able to find the humour in it. He doesn’t want you to feel sorry for him, nor does he want people walking on eggshells about his affliction. Curb features some hilarious physical gags, but it also makes a point of showing that, even when people are afflicted with something like Parkinson’s, they can still be jerks. It’s the underseen The Michael J. Fox Show , however, that gives a fuller picture of Fox's real day-to-day life. Sure, there’s still some quality physical gags, but it’s a great insight into how one would manage the situation while still maintaining a sense of humour. 2. SPIN CITY (1996-2001) When people speak of great sitcoms from the 90s, Spin City is one that is often unjustly forgotten. It’s the final role of the early phase of Fox’s career, before his symptoms were prevalent, and he makes the most of it. The series itself is well-written, and it features the likes of Barry Bostwick, Richard Kind, Alan Ruck, Connie Britton, Michael Boatman, and Fox as employees in the mayor’s office battling the daily hijinks that come with the job. Sitcoms like these have become a dime a dozen these days, but this one shines a spotlight on the comedic timing of Fox that few are able to match. 1. THE BACK TO THE FUTURE FRANCHISE (1985, 1989, 1990) Anyone who knows me knows my affinity for this franchise. It features two perfect films and a third that I will defend until my dying day. Fox and Christopher Lloyd as teenager and mad scientist are the perfect pairing to guide you through these films, but it’s the relatability of Marty McFly (Fox) that really carries things. In fact, one of the best aspects of Marty is that he is human, and it’s his own mistakes that get him into trouble. He loses his temper when anyone calls him chicken. He risks the fabric of time for a get rich quick scheme. I’m able to see myself doing these things, which makes me that much more invested in the story and his character. If I’m flicking through the channels and it’s on (no matter what point it’s at), I can’t help but watch. For a movie from 1985 that still works just as well nearly 40 years later, that’s one of the biggest compliments I can give. Michael J. Fox and countless others are still fighting but they can't do it alone. If you would like to do your part to help end Parkinson's Disease, please visit https://www.michaeljfox.org and donate to The Michael J. Fox Foundation to help find a cure. Photo Credits: Photo 1, 8 - NBC; Photo 2 - FX; Photo 3, 6, 10 - Universal Pictures; Photo 4 - MGM; Photo 5 - Warner Bros; Photo 7, 9 - ABC; Photo 8 - HBO

Previous Next June 6, 2024 WRITTEN BY: AMARÚ At the most recent Oscars, director Cord Jefferson, after receiving his well-deserved Best Adapted Screenplay Award, made a plea to Hollywood to get out of their stuck-in-the-mud ways. “I understand that this is a risk-averse industry, but $200 million movies are also a risk,” Jefferson stated. “It doesn’t always work out, but you take a risk anyway. Instead of making one $200 million movie, make twenty $10 million movies or fifty $4 million movies.” I wholeheartedly agree with this sentiment, and believe it goes far beyond just movie budgeting. There are very few actors in this industry that can escape from being pigeonholed into a particular role or stereotype for damn near their entire career. Hollywood likes the familiar, and it will ride an actors’ familiar skill set for all the money it can. For those who are extremely good at what they do, their undeniability can be a gift that grants them top-billed roles and accolades, no matter if it’s them doing the same thing in every film. For others not so blessed, it can be a curse that either keeps them leading the same kinds of movies repeatedly or being labeled a “character actor” not worthy of bigger roles. In both cases, there are a lot of actors that I’d love to see step out of their norm. In fact, I immediately think of Tom Cruise in one of his most iconic roles of all time, Les Grossman. Who would’ve thought that the funniest and most outlandish role in the already ridiculous Tropic Thunder would be Tom Cruise in a fat suit, fully embracing the crazy? It was utterly brilliant. I want to see more actors get that chance to show the range they aren’t normally afforded: dramatic actors in full-blown comedies, comedians being menacing, family-film regulars becoming the most unlikely action heroes. As such, I have listed nine actors (#1 being the true impetus of this article) and paired them with a director and genre that could truly show Hollywood that it’s great to get out of its comfort zone. 1: DENZEL WASHINGTON IN A BEN STILLER DIRECTED COMEDY (WRITTEN BY JOHN FRANCIS DALEY & JONATHAN GOLDSTEIN) Denzel is Denzel in every movie he has ever been in, and he’s still better than 98% of all actors in the history of acting. These are facts, and I stand by that statement. I guarantee it (and hope you hear that in the way it’s intended). However, one thing I’ve never seen Denzel do on screen is be as funny as he was in his interview with Jamie Foxx (if you don’t know, go find it). In my mind, the only way he would do an all-out comedy is if he’s put in the hands of someone he trusts and respects, and Ben Stiller has more than shown that he knows how to comedically take care of Hollywood royalty (see Tropic Thunder ). Add in the consistently smart and fun writing duo of Daley & Goldstein, fresh off audience favorites Dungeons & Dragons: Honor Among Thieves and Game Night, and Denzel will show off how surprisingly funny he can be (because The Preacher’s Wife was not enough). 2: TARAJI P. HENSON IN A DEV PATEL DIRECTED ACTION THRILLER This may seem like a weird pair, but both actors have recently been the poster child of Hollywood keeping people (of color, in particular) in one lane. From almost losing funding to enduring physical injuries, it’s well documented the lengths Patel had to go to in order to get Monkey Man made. Meanwhile, Henson has been very vocal recently about not getting paid her worth when she brings in both box office dollars and TV ratings. In Proud Mary , she showed that she has the attitude and charisma to carry an action film if given a serviceable script. We’ve also seen her in Smokin’ Aces , but she hasn’t been given a fair shot to LEAD a competent action staple. Patel proved with his directorial debut that he can create a compelling story, and with directing experience now under his belt, Henson’s fierceness can be his muse while he proves how badass she can be as a lead action star. 3: ANNA KENDRICK AS A VILLAIN IN A QUENTIN TARANTINO FILM Okay, so there are a lot of actors that could fill the role of “unlikely Tarantino villain,” but once I heard Anna Kendrick’s name, I couldn’t shake it. She is capable of all the QT quirks (awkward, yet likable, yet crazy, yet endearing), but only tends to be cast as the every-woman juxtaposed to the much more interesting character. I want her to step into the madness that constantly hides behind those ever-expressive eyes. Have you noticed that? Her eyes are strikingly emotive. They carry a lot of fervor that her sarcastic smile tries to hold back. Let Tarantino unhinge her, and I swear we’d get a monster of a movie villain. 4: QUINTA BRUNSON IN A STEVEN SPIELBERG DIRECTED BIOPIC (WRITTEN BY AARON SORKIN) Quinta Brunson has risen from social media content creator to Emmy-winning writer, producer, and comedic actress over the past ten years. She has proven she can do it all in the realm of comedy. If you’ve watched the most recent season of Abbott Elementary , you also can see glimpses of dramatic chops amongst her nerdy-black-girl-next-door persona. Put her in a fast-paced, autobiographical drama a la Catch Me If You Can or The Post , and let Spielberg utilize her can-do, get-it-done attitude like only he knows how. I’m being pretty specific here, but I can’t get the picture of Brunson fast-walking around a newsroom, legal office, or hospital emergency room out of my head, and there’s no two filmmakers who capture those settings more energetically than Spielberg, the godfather of the modern blockbuster, and Aaron Sorkin, the master of double-time dialogue. 5: DANIEL RADCLIFFE IN A JOHN WOO DIRECTED ACTION FILM I’ll admit right now that I have not seen Guns Akimbo (yes, I know I should, and hopefully, by the time you’re reading this, I’ve remedied that), but from what I’ve been told, Radcliffe is put in a lot of action situations that his character would rather not be in. What I’m looking for is trained-to-kill Daniel Radcliffe. Put-him-in-a-dangerous-situation-and-watch-him-mow-through-people-efficiently Daniel Radcliffe. Get-bloodied-but-bounce-back-after-a-couple-injuries Daniel Radcliffe. Have John Woo add some doves, some bullet time, and just enough seriousness to make it all believable, and now you’ve added lethal assassin to the list of things you never thought you’d see Harry Potter become (sorry, I needed at least one reference). 6: PAUL RUDD IN A DAVID FINCHER DIRECTED THRILLER Paul Rudd is an actor who can appear in anything and I will watch it. He also may be another example of an actor playing himself no matter the role, but it doesn’t matter because he’s so damn personable that it’s so damn enjoyable. Get all that nicety the fuck out of here, though. I want David Fincher telling Rudd to do the take again for the 157th time to make sure he gets it exactly right. It’s really easy to make Ben Affleck unlikable (sorry), but it’s a feat to do that for Rudd. I want to see the Fincher-intensity on Rudd’s un-punchable face. 7: JOHN CENA IN A JUSTINE TRIET DIRECTED COURTROOM DRAMA Yes, I know she just did a courtroom drama, but after Anatomy of a Fall , I wouldn’t mind Triet running back another two-hour, top-notch, dialogue-heavy, roller-coaster triumph of talking and arguing with John Cena leading the charge. He is one of the best wrestler-turned-actors working today because of his quick wit, great comedic timing, and ability to successfully use words and intonation in conjunction with his physical prowess, but we’ve only seen two versions of that persona so far: super silly goofball or ultra serious military man. Give Cena a shot as a legit litigator, and Triet’s dialogue and direction could unlock a brilliant balance between the two. 8: JACK BLACK IN A ROBERT EGGERS DIRECTED HORROR FILM On the surface, this pairing may seem like the most contradictory on the list, but when you look a bit closer, Black and Eggers have some strong similarities. They both have an ever-present Rock ‘N’ Roll aura around them, and their passionate energies are always dialed to 100. Black would go all out, Eggers would go all out, the horror would be epic, and maybe our collective faces would melt off. And it would be worth it if we could get the ultimate unadulterated horror version of Jack Black on screen. 9: LUPITA NYONG’O IN A GRETA GERWIG DIRECTED ROMANTIC COMEDY We know that Lupita Nyong’o is a badass because we’ve seen her be a badass in multiple forms: Wakandan badass, Oscar-winning badass, doppelganger badass, voice-acting badass. Just take a look at her well-sculpted arms; you know she’s coming on screen to bring the heat. Can we get a role from her with none of that? I want to see her fully embrace her feminine qualities, daintily walking through life with care-free ease, and falling in love in the most heartwarming way possible. Greta Gerwig is more than adept at showcasing femininity without compromising integrity, and she would beautifully capture a strong, black woman just existing. That is a version of Lupita I would love to see. Photo Credits: Photo 1, 7 - Warner Bros. Pictures; Photo 2, 3 - Paramount Pictures; Photo 4 - ABC; Photo 5 - The Roku Channel; Photo 6, 8, 9 - Universal Pictures

Previous Next March 19, 2025 WRITTEN BY: NICK I've always considered myself a pretty patriotic person (a proud Canadian, to be clear), but with all the turmoil going on between Canada and the United States these days (both politically and musically, R.I.P. Drake) that feeling is even stronger. Don’t worry, I’m not going to dive into a political rant (although, just to be crystal clear, we’re no one’s 51st state), but I do want to praise my country and some of its pop culture exports that have excelled at providing what we all need more of in these times: joy and laughter. There are going to be omissions (Ryan Reynolds, Seth Rogen, Dan Aykroyd), but I wanted to keep this at a reasonable length. Plus, what can I say? In my opinion, when it comes to comedy, there's no country as rich with talent as Canada. Others are good, sure, but they're... not like us (I can feel Amarú's side eye from here). SKETCH AND IMPROVISATIONAL COMEDY Let's talk about Colin Mochrie and Ryan Stiles. The two guys probably best known for Whose Line is it Anyways? are amongst the funniest Canada has to offer (Mochrie even won Last One Laughing Canada ). However, as funny as they are as individuals, they're sublime when paired together. If you somehow haven't seen them work together before, find some clips on YouTube and proceed to laugh your ass off. Next, although less revered, you’ve got Will Sasso. For me, he would be worthy of a mention just for his wrestling impressions, but his work on MADtv was exactly what that series needed, and it ultimately led to several memorable supporting roles. Finally, I can't talk about Canadian comedy without mentioning the two series that make up the skeleton of my country’s comedy landscape, SCTV and The Kids in the Hall . For SCTV , I need only to list the alumni that came from that show: John Candy, Eugene Levy, Catherine O’Hara, Martin Short, Rick Moranis, and Harold Ramis (that’s right, SCTV is responsible for two Ghostbusters stars). Legendary stuff. The Kids in the Hall is a different story. The troupe was unable to find the same level of success beyond their self-titled series, but they still made waves. Dave Foley had early momentum with the highly underrated The Wrong Guy , NewsRadio , and A Bug's Life , while Mark McKinney had multiple stints on Saturday Night Live , not to mention the recent role of Glenn Sturgis on Superstore . Still, all is well, as the Kids reunited in 2022, showing they haven't missed a beat. MICHAEL J. FOX I know, I know… you’ve likely heard me wax poetic about Michael J. Fox before, but to exclude him from this list would be disingenuous. Although his career has been cut short because of Parkinson’s Disease, he made the most of the time he had. On the big screen, there are the timeless classics ( Back to the Future trilogy), the underrated gems ( Doc Hollywood , The Secret of My Success ), and the family-friendly vocal performances ( Stuart Little, Atlantis: The Lost Empire ). When it comes to comedy, however, his best work came in television. Family Ties and especially Spin City showcase Fox’s comedic timing and boyish charm at their apex, and it’s such a shame that we didn’t get to see more of it. WILL ARNETT I expect Will Arnett’s inclusion to be the one that makes people raise an eyebrow. You might be thinking, “is Nick a big Arrested Development fan?” Nope, I actually didn’t even watch that show. For me, Arnett makes this list almost exclusively for his voice-over work. It’s a distinct voice, yes, but it’s so much more than that. He simply infuses these types of roles with so much character. I give him a lot of credit for why The Lego Batman Movie works as well as it does. Plus, he’s the voice behind one of the most honest, fractured, and, oddly enough, “human” animated characters of this century with BoJack Horseman. Whether it’s a lead role or just popping in, Arnett always leaves a mark. Hell, you can credit him for the reason “Hey, eat a Reeses!” pops in your head from time to time. (Editor's note: There’s a chance that may be a Canada-only commercial.) CATHERINE O’HARA Not only is Catherine O’Hara the funniest Canadian woman alive, but she is also one of the funniest women ever. To many, she is known for her work in Christopher Guest’s beloved mockumentaries Best in Show , A Mighty Wind , and For Your Consideration , where she really gets a chance to showcase her off-the-cuff humour. To some, it’s her slew of supporting characters in everything from Home Alone to Beetlejuice . Nowadays, with the emphasis on short memories, she is Moira Rose, the matriarch of the Rose family from Schitt’s Creek . The little Canadian television series that could, this CBC original became a worldwide phenomenon that won multiple awards, including Golden Globe, SAG, and Emmy wins for O’Hara. There’s not many who could’ve played Moira to that level of success, but O’Hara made it seem easy. MIKE MYERS I unintentionally quoted Austin Powers twice in the past two days, but when I really think about it, the truth is that I quote it more than I realize. Shrek , too, for that matter. That simply speaks volumes to the legacy of characters created by Mike Myers. In the Austin Powers trilogy alone (we still need a fourth!), he's given us Powers, Dr. Evil, Fat Bastard, and Goldmember. There is also Wayne's World's Wayne Campbell, which can sometimes get lost in the shuffle. Show me a streak of characters as memorable and iconic. And remember, these are characters for which Myers deserves all the credit. Whether it's improvising better lines or just pure delivery, he makes every one of his characters better than they are conceived to be on paper. If you need any further proof, check out the late Chris Farley's interpretation of Shrek (it's on YouTube). You'll see that the beloved ogre wouldn't have become as special as he is if it weren’t for Myers squeezing everything he could out of the role. JIM CARREY Allllllrighty then, let’s talk about Jim Carrey, one of the greatest physical comics of all time, full stop. His first true run of feature film success (no In Living Color erasure here) started in 1994 with THREE massive hits ( Ace Ventura: Pet Detective , The Mask , and Dumb and Dumber ), and it continued steadily until 2004. Carrey’s screen presence in that time was like that of the late Robin Williams: you never knew what he was going to do, but you knew it was going to be funny. He was a real-life cartoon character in the best way possible. Carrey has changed a lot in the past decade or more, but his recent role as Dr. Robotnik in Sonic the Hedgehog suggests there is still a glimmer of the old Carrey in there. Hopefully, we get to see that side a few more times before he officially hangs ‘em up. IN MEMORIAM I’d be remiss if I didn’t talk about those we’ve lost. Unfortunately, I was three years old when John Candy passed away, and only seven when Phil Hartman died. I’ve visited and enjoyed their work over the years (Hartman, in particular), but I don’t really have the connection to those two that older readers might hold. Still, an undeniable loss to the comedy world. However, there are three men no longer with us with whom I did have such a connection. First, pure comedy is the best way to describe Leslie Nielsen. Whether it was slapstick or just outrageous antics, I don’t think anyone gives me the feel-good chuckles the way Nielsen does. Airplane! , The Naked Gun , Wrongfully Accused — basically any spoof parody ever — he could take the dumbest thing and make it the best. It’s not a coincidence that the spoof parody died shortly after he did since no one did it better. Second, I love a deadpan comic, and Norm Macdonald was at the top of that game. Whether it was his work on Saturday Night Live (especially Weekend Update) or his talk show appearances alongside David Letterman or Conan O’Brien, that sonofabitch was funny. The phrase often gets overused, but he really was one of a kind. Lastly, look, I’m a white male in his thirties. Of course I watched Friends , and Matthew Perry was just so clearly a cut above the rest. Personal demons certainly had an effect, but he deserved a much better post- Friends career. In fact, I never stopped rooting for him, watching and enjoying everything he put on screen, including one-season wonders Studio 60 on the Sunset Strip , Mr. Sunshine , and Go On . Not only do I wholeheartedly believe we lost a true talent, but I also don’t think we ever got to see his full potential realized.

Previous Next January 17, 2024 WRITTEN BY: THE BITESIZE CREW As we enter the new year, almost all movie-related content is focused on looking back at 2023. The best of this, the worst of that, awards predictions, box office tallies, and so on. We’re no different, as we have a few features revolving around 2023 still to come, including The Bitesize Awards. With that understanding, we decided to shift gears a bit and look ahead to 2024. What are the big titles coming this year that we are most excited for, be it purely for fun escapist entertainment or an early awards frontrunner? As you can see below, we all have our certain tastes…from known IP tentpoles to director-driven original stories, from live action to animation, from sci-fi to action to horror to family-friendly. We run the gamut. As you may recall, we’ve done this type of list before, but we changed the rules a bit this time around. We’re only focusing on the first half of 2024, so to be eligible, the movie must have a confirmed release date between January 1st and June 30th. The reason for this is that there are several films expected to release this year, but as we’ve seen in the past, we can never really know when something will actually drop. In fact, just a week before we went to post with this list, one of Adriano’s original choices, Bong Joon-ho’s Mickey 17 (originally set for release on March 29th), was delayed indefinitely. This makes for more accurate selections while also avoiding repetitive lists in the future - such as Killers of the Flower Moon , which topped our past three Most Anticipated Lists due to continuous release date delays. Also, October is far away. You aren’t likely to remember a recommendation for a movie coming out in 10 months, so we’ll wait and do a “Most Anticipated 2024 Films (Second Half)” in July. So, here is what we are looking forward to over the next six months, in order of release date. Are any of these on your list? What are you excited about? MEAN GIRLS (January 12th) The original Mean Girls is a staple of 2000s culture, still one of the most-quoted films ever, and I’d argue a rite of passage for any woman that was a teenager in the mid-noughties. I’ve seen it countless times and never get sick of it, so I am very excited for this modern spin on the generational classic, especially since I love musicals! I’m also interested in how it will connect with and engage a new Gen Z audience and their unique circumstances, with the trailer declaring “This isn't your mother's Mean Girls ,” among fresh takes on clichés and references to TikTok. - Katie ARGYLLE (February 2nd) Believe it or not, Argylle is director Matthew Vaughn's first non- Kingsman film in more than 10 years... at least for now, as there are plans to integrate the two franchises in the future. Yes, the director (known for his signature style) is staying in the spy world, but this time, he's working with a whole new cast of characters. Argylle boasts the big screen return of Henry Cavill - in his first leading film role in a minute - alongside an eclectic cast of characters, including everyone from Sam Rockwell to Bryce Dallas Howard to John Cena to Catherine O'Hara to Dua Lipa to Samuel L. Jackson to... you get my point. Vaughn has earned tons of goodwill with the spy genre, so… if it ain’t broke, don’t fix it. - Nick DRIVE-AWAY DOLLS (February 23rd) Given that Drive-Away Dolls has been described as a “lesbian road trip project,” not to mention that the main characters are two Gen Z women (Geraldine Viswanathan and Margaret Qualley), I can understand why you might be shocked that I’m looking forward to this movie. That said, the supporting cast boasts Colman Domingo, Pedro Pascal, Matt Damon, and the perpetually underrated Bill Camp. More importantly, though, is the person behind the camera: Ethan Coen. The Coen Bros. have long been one of the few directors whose movies I’ll see on name alone, regardless of cast and plot, and I have no reason to think differently just because Ethan is rolling solo this time. Also, when the “lesbian road trip” is described as “going awry when they cross paths with a group of inept criminals along the way?” Man...that’s a classic Coen story if I’ve ever heard one. - Quentin DUNE: PART TWO (March 1st) It should come as no surprise that Dune: Part Two , previously named my most anticipated movie of 2023, would naturally become my most anticipated film of 2024 after being delayed because of the WGA and SAG-AFTRA strikes last summer. It is quite amazing what director Denis Villeneuve was able to capture with the first half adaptation of the legendary book by Frank Herbert. Part One 's visual effects and cinematography not only left me speechless, but also simply astounded by the scope of its storytelling. Part Two of this sci-fi epic is quickly approaching, and I'm excited to see what awaits us on Arrakis. - Paige KUNG FU PANDA 4 (March 8th) I’ve always considered the Kung Fu Panda trilogy one of the most underrated trilogies in recent memory, animated or otherwise. It’s often overshadowed by its DreamWorks Animation counterparts, like Shrek and How to Train Your Dragon , but neither of those trilogies have both the heart and humor that Panda does. Jack Black was born to play Po, and the rest of the cast fit in extremely well too. While I’m slightly worried that a fourth entry might be one too many, adding Viola Davis to a franchise that has continually delivered more than expected may yet again prove that you can’t underestimate the power of the Skadoosh. - Amarú GHOSTBUSTERS: FROZEN EMPIRE (March 22nd) If Frozen Empire is anything like 2021’s highly underrated Afterlife , I’m once again ready to stand tall with one of my favourite franchises ever. Admittedly, the concept for the new chapter has made me raise an eyebrow, but after Afterlife , I trust Jason Reitman enough to deliver another nostalgia-filled ride full of laughter, fun, and a shocking amount of emotional depth. With the original cast (Bill Murray, Dan Aykroyd, Ernie Hudson, and Annie Potts) returning in what is likely to be a more crucial role this time around alongside the cast of the most recent installment (Finn Wolfhard, Mckenna Grace, Paul Rudd, and Carrie Coon), not to mention some new additions (Kumail Nanjiani and Patton Oswalt), I sure can't wait to make the call to catch this one. - Adriano GODZILLA x KONG: THE NEW EMPIRE (March 29th) Okay, I’m fully aware that this movie looks dumb, but that’s exactly why I’m so hyped for it. If Godzilla vs. Kong jumped the shark, then Godzilla x Kong seems to be doing backflips over it. Godzilla’s sporting a new pink makeover, Kong’s got an infinity gauntlet, they’ve doubled down on the whole “hollow earth” thing, and now there’s a baby Kong too? Also, what’s the deal with the big mean orangutan? It all looks so unashamedly ridiculous that, at this point, I’m totally on board with that. I’m just hoping Godzilla x Kong embraces that goofiness while also delivering some epic balls-to-the-walls monster brawls. - Caleb CHALLENGERS (April 26th) Delayed from its 2023 release due to the SAG-AFTRA strikes, Luca Guadagnino's upcoming Challengers caught my attention immediately due to the hype surrounding the trailer. Starring Zendaya, who I believe is one of the most versatile and exciting young talents working in film today, it follows a love triangle set against the backdrop of a sports drama. What more could you ask for?! With a successful filmography including his Suspiria remake, the Oscar-winning Call Me by Your Name , and Bones and All , I am anticipating a dramatic, emotionally engaging, and enticing film. - Katie CIVIL WAR (April 26th) Civil War may be writer/director Alex Garland’s most terrifying dystopian work yet because you know things go awry when California and Texas join forces! Production company A24, who I am rapidly beginning to understand the hype behind, swings for the fences with its biggest budget to date and a cast that includes some low-key favorites of mine in Jesse Plemons and Nick Offerman. Given the current political landscape, the precarious economic condition, and my own proclivities towards preparing for worst-case scenarios, I’d say the timing for this film couldn’t be better (or worse?). - Preston THE FALL GUY (May 3rd) Among other reasons, The Fall Guy has two very big things going for it for me. 1. Nostalgia – I grew up watching reruns of The Fall Guy , a series starring Lee Majors that ran on ABC from 1981-1986, with my grandmother; and 2. Ryan Gosling – sure, I talk a lot about how much I love Nic Cage as an actor, but Baby Goose is at the top of my man crush list. Mix those two things with Emily Blunt, Winston Duke, Aaron Taylor-Johnson (possibly the next James Bond?), Stephanie Hsu, and Hannah Waddingham…all being directed by the action-proven David Leitch…what else could I ask for? Plus, did you see the trailer? Expert use of Bon Jovi. - Quentin KINGDOM OF THE PLANET OF THE APES (May 10th) Although I’m disappointed that director Matt Reeves isn’t returning to helm this long-anticipated sequel, I’m still extremely excited to return to the Planet of the Apes . It’s been almost seven years since the groundbreaking prequel trilogy ended, and since then, I’ve been hungry for more. This new installment seems to be closing the gap between those films and the 1968 original, taking place generations after the end of War for the Planet of the Apes . The humans are looking absolutely feral while the apes are advancing at an alarming rate, discovering electricity, and speaking more fluently than ever. It looks like classic Apes fun! - Caleb FURIOSA: A MAD MAX SAGA (May 24th) It's almost as if Furiosa has checked off every single box for things that gets me pumped for a movie. A George Miller action-epic prequel to Mad Max: Fury Road , one of my all-time favourite movies, with Anya Taylor-Joy in the title role? Say no more. I pulled my car over when I found out the trailer had been released, and to say my excitement only tripled from there would be an understatement. Based on the trailer alone, it looks like we're returning to the post-apocalyptic world of mayhem the way we left it, with badass chases and chaotic cars mixed with (hopefully) a worthy origin story for one of our best modern heroines. Ladies and gentlemen, start your engines! – Adriano BALLERINA (June 7th) If there is one franchise that deserves as much expansion of its world and lore as possible, it’s John Wick . No matter what your thoughts were on Peacock’s miniseries prequel The Continental , getting an Ana de Armas-led action extravaganza spinoff after her amazing portrayal of Paloma in No Time to Die is enough to get my butt in the theater. This franchise has yet to miss, and with multiple characters reportedly returning and Len Wiseman directing (he’s done nothing but fun and entertaining action in my eyes), I can’t see Ballerina being the first to fail. - Amarú INSIDE OUT 2 (June 14th) Although Pixar hasn't exactly been on a cold streak, it has certainly been garnering mostly tepid responses with its recent features. This is precisely why now is the perfect time to revisit the world of Inside Out . The original film succeeded in personifying our emotions in a way that was both relatable and endearing, and I expect more of the same in the sequel. This is especially true thanks to the newest emotion the franchise will be tackling, Anxiety (voiced by Maya Hawke), as well as a few others still being kept under wraps. - Nick THE BIKERIDERS (June 21st) The Bikeriders is uniquely based on a photojournalistic album from the real-life midwestern motorcycle gang chronicled in Danny Lyon’s book of the same name. I have always been fascinated by the “One-percenter” motorcycle clubs, with their semi-nomadic and nonconformist lifestyle that also requires a seemingly contradictory strict adherence to the club’s codes. Writer/director Jeff Nichols often lets his actors act without reliance on flashy cinematography, bells, and whistles to distract from an otherwise bland story. I think what we can expect here is a gripping, modern-day The Godfather -esque tale, featuring bad-ass motorcycles, great dialogue, and Tom Hardy. How can it not be good?! - Preston A QUIET PLACE: DAY ONE (June 28th) Inject A Quiet Place: Day One into my veins now, please. I love that we’re going back to ground zero of this alien invasion to establish how it all began, especially considering we only get a tiny glimpse of it in A Quiet Place Part II . Although John Krasinski isn’t directing this time around, I have complete faith and am stoked to see what he cooked up with writer/director Michael Sarnoski. On top of that, this eerie flick will have Lupita Nyong’o returning to the horror game. So, sign me up! I’m looking forward to being on the edge of my seat throughout this flick, trying not to make a peep. – Paige

Previous Next April 10, 2024 WRITTEN BY: KATIE In September of last year, Netflix posted their final DVDs to customers as their mail-based service came to an end. With just under one million people estimated to still be subscribed to the DVD mail service, it wasn't losing money as much as it simply was not making enough. Marc Randolph, Netflix’s co-founder and former CEO, commented that they “knew DVDs would go away” and the move was a “transitory step” for the company. Netflix’s DVD service offered films that are either very hard to find physical copies of or are completely unavailable via streaming, and a lot of people were left disappointed. This service was never available in the UK, but our most closely related version of the service, Lovefilm, was discontinued far earlier in 2017 after Amazon announced a decreased demand for discs as many customers turned to streaming services. Its closure also left many users disgruntled. Whilst I rarely watch films that are only accessible on DVD, I’ve noticed some surprising films are unavailable for me to stream in the UK, such as Eraserhead (1977) and Near Dark (1987). What’s more, I learned recently that 28 Days Later (2002) is, for the time being, unavailable to watch on any streaming platforms after the ownership rights for the independently financed film were passed from Disney to Sony. After an intense bidding war, Sony won the rights to a two-part sequel of the original film, and it disappeared from streaming services for legal reasons. Although Sony likely will re-issue a digital copy of the film at some point, the whole scenario got me thinking about how difficult it is becoming to easily access physical copies of certain films, particularly classic or older films. I find it disconcerting that, as it becomes harder to find affordable DVDs, access to films is increasingly dependent on companies who care more about profits and bonuses. Whilst I see the value in streaming services and digital content - it is convenient, easy, and offers nothing if not choice - I do not believe it should restrict access to or replace physical media. Although Blu-ray and DVD sales have decreased, it doesn’t mean millions of people aren't still buying physical media. If anything, I am anticipating a resurgence in the popularity and appreciation of physical media, as people come to understand the issues associated with relying on streaming services. Cards on the table, I love physical media, so this may not be the most balanced account. I don’t own hundreds of DVDs or anything, but I do invest now and again in a Blu-ray or an extended edition of a film I love, or hint, quite unsubtly, that they would make great gifts on birthdays or Christmas. I enjoy having access to my favourite films without googling where to find them or worrying about quality that's dependent on my Wi-Fi, not to mention the artistic value of additional content and bonus features. I also like the idea of my money benefiting the filmmakers in a fairer, more effective way than streaming allows for. As such, I would like to advocate for the many positive aspects of buying, renting, and generally ensuring wide access to physical media, especially in comparison to a future dominated by streaming services, and highlight the reasons why it is important to preserve. PHYSICAL MEDIA ENSURES YOU TRULY OWN A FILM If you purchase a film digitally, you only own the right to stream it via that streaming service for as long as they retain the distribution rights to said film. Whilst streaming services promise that you can watch whatever you want, whenever and wherever you want, a film that you have bought at full price can be removed from your possession due to loss of rights and other negotiations. What’s more, streamers like Netflix and Disney+ routinely remove their content without warning. This means that not only could you lose access to your favourite films and TV shows without knowing, but you’ll have to pay an additional subscription if you want to watch them on the streaming service where they’re available. Paying for Netflix, Amazon Prime, Apple TV+, Disney+, etc. in order to access all the films and TV you want to watch is simply unaffordable. Additionally, streaming services have been known to edit or censor content, so streaming-exclusive content can be changed, leaving no record of its original cut. There have already been many instances of streamers editing potentially offensive jokes out of sitcoms or making those episodes unavailable. So, physical media is a way to ensure you have an unchangeable version of that content. IT LOOKS AND SOUNDS BETTER Streaming is reliant on the quality of your internet access. I personally always have issues when streaming, finding that dark colours are always pixelated, fading colours don’t render properly, and varying Wi-Fi speeds impact the sound, which is of poorer quality regardless. Even though some streaming services support 4K or HDR, you need high-quality, very consistent internet, not to mention zero bandwidth limitations, to get the best results. Even then, it's not perfect. However, DVDs and Blu-rays reflect how the film was intended to look, with a lot of effort going into their high-quality production. Of course, physical media deteriorates over time, but when well looked after this won't happen for many, many years. CONTENT VS. CURATION This is incredibly subjective, but I believe that going out of your way to find a film specifically after you made note of it from a positive review, or because it was recommended to you, is a rewarding experience. It’s personal. On the other hand, navigating streaming services feels like social media, with everything compartmentalised into inpersonal categories or being recommended by an unknowable algorithm. In my view, this way of consuming film and TV is one of the biggest contributors to the view that everything is “content,” and it hurts the visibility of smaller productions that can fade into the vast digital libraries. Not only this, but again, streaming-exclusive films can be deleted from these platforms, quietly removed and their existence lost to audiences without a physical copy. However, with physical media, those films or TV shows would have a place to be discovered and re-discovered. PHYSICAL MEDIA SUPPORTS FILMMAKERS Before the prevalence of streaming services, physical media generated huge revenue and was more effective in supporting filmmakers in the long-term. Now, the profitability of a film on streaming is heavily reliant on being successful in the first few days of release, or it risks being lost in the shuffle of options without the promise of the revenue of physical sales. Recently, Matt Damon in his appearance on Hot Ones spoke on the issue, commenting “DVD was a huge part of our business” and “the movies that we used to make, you could afford to not make all of your money when it played in the theatre because you knew you had the DVD coming behind the release.” He believes a lack of physical media has “changed the type of movies we could make,” which is hard to deny when looking at the type and quality of films that dominate most streaming services. This sentiment also has been reflected by others in the industry, especially Christopher Nolan, who similarly has spoken on the fleeting nature of films on streaming services, which especially negatively impacts “filmmakers who want their films to have a life beyond…whatever their initial release is.” This speaks to the issue of viewing film and TV as disposable content, resulting in a contemporary cinematic landscape that is risk-averse and lacking in the theatrical release of mid-budget films, mostly notably romantic comedies and dramas, and films that aren't associated with IP or a franchise. Relying on popular IP and foregoing the extra costs associated with a theatrical release is generally safer for studios, and since more content means more money, there is an abundance of very average film and TV. In my view, there is an obvious difference between the quality of theatrical releases vs streaming-only releases, and watching a film in the cinema will always be superior to home viewing. It’s a shame to withhold the opportunity to experience a film in the most immersive way possible, or decide that some films are undeserving of a theatrical release. I, personally, will continue to invest in physical media, for all the reasons stated above, as well as the sentimental value that my small collection holds for me. Whilst I do not dislike or discourage streaming services, I believe it's important to preserve physical media in an increasingly digital world and an industry that's driven by prioritising profits over art. Photo Credits: Photo 1 - CNN; Photo 2, 4 - A24; Photo 3 - USA Today

Previous Next August 11, 2025 Something feels weird... kind of freaky... like we've been here before but in a different way. Having the original audience trade places, what was old shall feel new. The trouble is doubled, but does that mean the fun will be too? After 20+ years, Jamie Lee Curtis and Lindsay Lohan have reunited for another freaky experience. Does Freakier Friday retain the magic of the original, or is this yet another unnecessary legacy sequel? Click HERE to subscribe to our YouTube channel for all of our latest video content including our Early Reactions, and be sure to give us a thumbs up and comment your thoughts!

Previous Next Before you begin your Halloween festivities, we've got one more Top Five for you (a day early) as the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Alien Invasion Films. As per usual, each writer ranks their 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. MEN IN BLACK I truly believe that Men in Black is one of the most underrated films of the past 30 years. Look at me crazy all you want, but go with me here… Yes, it gets all the “Mr. July” Will Smith love because it was a mega-hit blockbuster that still has plenty of cultural currency today. But when was the last time you watched it? If it’s been a while, maybe you are thinking that Mr. July’s other alien invasion movie needs to be here instead. To that, I say watch MiB again and tell me how you feel? Because every time I watch it, I am blown away by how well-acted, briskly paced, amazingly choreographed, and intelligently written it is. Not only is it one of the best alien invasion movies of all time, but I also put it up there as one of the best sci-fi movies ever made. Those calls for a retroactive Oscar nomination for Vincent D’Onofrio don’t come from nowhere. Men in Black is the perfect blend of blockbuster entertainment and prestige aura that you wouldn’t expect from a movie with its own (bangin’-ass) theme song. — Amarú 4. EDGE OF TOMORROW I'm not sure why Edge of Tomorrow doesn't get more love. Driven by a War of the Worlds- meets-Groundhog Day concept, we see Tom Cruise's unexpected hero, William Cage, repeatedly battle brutally violent alien invaders with the support of Emily Blunt's impressive badass. It's a nearly perfect sci-fi action film, featuring a concept that is executed extremely well, not to mention the simply breathtaking futuristic spectacle and alien battleground sequences. The action is immersive and violent, and the viscous extraterrestrial invaders are among some of my favorites ever on screen, especially given their memorable creature design. Their hive mind and ominous power make them a compelling threat despite Cage's inability to die, and watching them kill him in increasingly savage ways never gets old. I also love the cast, particularly the dynamic between Cruise and Blunt, that latter of whom matches and sometimes even exceeds the former’s compelling screen presence. — Katie 3. THE THING To many, 1982 is considered a benchmark year for science fiction films: Tron , Blade Runner , Star Trek II: The Wrath of Khan , among others. Even with that slate, it’s hard to believe that The Thing was the least regarded, speculatively because it offered a grim and hopeless look at interaction with an alien species that was diametrically opposed to the most popular movie of that year, E.T. the Extra-Terrestrial . Why think about an otherworldly visitor killing you and assimilating your appearance when they could be eating Reese’s Pieces and going trick-or-treating with you? Either way, John Carpenter’s classic was ahead of its time, especially from a visual effects and make-up standpoint. With every viewing, I increasingly question the collective thought process of the Academy not recognizing it at all. Not only does The Thing play on our xenophobia and the crushing realization of bitter loneliness and isolation, but it does so through mystery, making you question who is human and who is alien. It is intimate but sprawling in its ideas and environment, a true exercise in building tension and horror. — Robert 2. ALIEN "In space, no one can hear you scream" is factually correct, but also the ingenious tagline for the 1979 sci-fi horror flick Alien. However, people can hear us scream on Earth, and they certainly heard us screaming while watching this classic. While subsequent films in the franchise lean a little more into action, with some great and some not-so-great results, the original stands out as being particularly amazing at creating absolute dread with its man v. alien premise. Alien plays into the archetypal invasion structure in effectively frightening ways. We don't even see the xenomorph for a good chunk of the movie, and yet, there's the permeating fear of something unseen putting the USCSS Nostromo’s crew in mortal danger. I, admittedly, have a sour relationship with director Ridley Scott, but Alien forever remains one of his crowning achievements. — Adriano 1. ARRIVAL Arrival flips the alien invasion genre on its head, proving that not all alien invasion films need to end in a blood bath. When a bunch of mysterious spaceships touch down across the world, chaos ensues. However, director Denis Villeneuve takes a brilliant and more unconventional approach to the subject matter by deciding to focus on the communication between us and them instead of the possible conflict. This film is so much more than your typical alien invasion story as it will genuinely pull at your heartstrings. It dives deep into heavy themes of time, memories, and the overall human experience, all against the backdrop of first contact. I don’t use the word “masterpiece” lightly, but let’s be real, Arrival truly earns that title. — Paige HONORABLE MENTIONS PREDATOR CLOVERFIELD ATTACK THE BLOCK A QUIET PLACE WAR OF THE WORLDS (2005)