FEAR THE WALKING DEAD: THE COMPLETE FINAL SEASON Starring: Lennie James, Kim Dickens, Zoey Merchant, Jenna Elfman, Maya Eshet, Karen David, Austin Amelio, Christine Evangelista, Danay Garcia, Rubén Blades, Daniel Sharman, Jayla Walton, and Antonella Rose Creators: Dave Erickson and Robert Kirkman NICK PART ONE Although Fear the Walking Dead has been inconsistent in its quality, it's been an enjoyable weekly watch as the campier, more ridiculous sibling of The Walking Dead . But, enough is enough. Part One of this season (it's 12 episodes, and did NOT need to be split) fails to build on the walker advancement The Walking Dead teased, or provide an interesting path to the finale until its dying minutes. Add in bringing Madison Clark (Kim Dickens) back too late and the continued bastardization of Morgan Jones (Lennie James) (though "King County" is admittedly the season’s highlight), and I'm not optimistic Part Two can salvage this series. PART TWO Wow, and I thought Part One was rough... It's genuinely depressing to see how far Fear the Walking Dead has fallen. The series certainly had its challenges, but it was never as nonsensical and unenjoyable as its final six episodes. The characters' motivations and decision-making are all over the place, some of the performances are ROUGH (Kim Dickens, in particular), and any interest I had in anyone's story dissipated with each passing episode. It's time to let this die. There’s no need for any continuation of these characters, just put everything about this series out of its misery and focus on the other spin-offs.

ONLY MURDERS IN THE BUILDING: SEASON THREE Starring: Steve Martin, Martin Short, Selena Gomez, Meryl Streep, Paul Rudd, Jesse Williams, and Michael Cyril Creighton Creators: Steve Martin and John Hoffman ADRIANO I'm impressed that after three seasons, Only Murders in the Building continues to push itself beyond its sketch comedy premise and improve on its original idea. Some of its absurdist elements don't entirely work, but this season's intense focus on the characters, beyond just the core three, made this the most captivating season yet. Both the returning and new members of the ensemble work wonders, especially Meryl Streep, whose performance feels like a return to form. I have to imagine there's not much further this concept can go, but if it keeps up this pace, then bring on Season Four. AMARÚ For a while there, I thought there was only so much you could do comedically with Only Murders in the Building , especially with the Steve Martin of it all (*gasp! I separated their names this time!*), but that’s why you get strong performers like Meryl Streep, Paul Rudd, and Jesse Williams to infuse new life, their high tides lifting all boats. As this third season goes on, their talent carries the plot and mystery into surprisingly unexpected dramatic places, with Martin Short and Selena Gomez being the primary beneficiaries. The well-built finale also shows that Season Four can hopefully still bring something new. QUENTIN In a vacuum, Only Murders in the Building continues to bring the same elegant murder mystery humor that it always has, with Martin Short especially bringing the heat this season. That said, this is a premise that can only go on for so long before we start getting into the Dexter problem (seriously, how many serial killers did Miami have? And how many murders can happen around these people?). But, if you’re able to look past that without it feeling a little tired and formulaic (it’s pushing it for me, to be honest), Only Murders remains a mostly unmitigated delight. PAIGE Only Murders in The Building maintains its power as a merriment-driven murder mystery show that lets its lead trio (Selina Gomez, Martin Short, and Steve Martin) shine, not to mention that adding Meryl Streep to the cast obviously elevates the material and the overall talent level. However, I can’t help but feel like this season is missing the lovable charm it had in seasons prior, which I think comes down to the fact that we are missing such a key element of the show that makes it what it is: The Arconia.

GEN V: SEASON TWO Starring: Jaz Sinclair, Lizze Broadway, Maddie Phillips, London Thor, Derek Luh, Hamish Linklater, Sean Patrick Thomas, Asa Germann, and Ethan Slater Creators: Eric Kripke, Evan Goldberg, and Craig Rosenberg AMARÚ Gen V : Season Two is as unapologetic, gory, and politically charged as any season of The Boys , maybe even more. It naturally builds out the world to continue this universe’s story well past its predecessor’s series finale. But I can’t help but feel there is something missing. Colliding multiple storylines with cameos (albeit good ones), action pieces, and a moving season-long tribute to Chance Perdomo makes for some great reveals, but the series moves through each so fast that the youth-centered themes and cast performances don’t feel as intelligent. It does give us a career-best Hamish Linklater performance, though, and left me entertained with this crazy show. PAIGE First and foremost, Gen V : Season Two does a beautiful and respectful job of honoring the late Chance Perdomo, who passed away before this season was filmed. The impact he left on both the characters and the cast is felt throughout each episode. Secondly, this season confidently stands apart on its own merit by going full throttle and building upon the majority of its characters’ developments. It introduces one of the best villains in the franchise, and furthers the overall story for this universe. Somehow, this is even more fucked up than its predecessor, and yet it has so much bloody heart. QUENTIN If you’re a loyalist to franchise IP — the type of person who still considers every spinoff of The Walking Dead to be appointment viewing — Gen V delivers enough of The Boys ’ satire, gore, violence, dark humor, and superhero action to scratch your itch, especially as the parent series prepares to enter its final season. That said, all the fun aspects that are carried over from the core show are nothing more than wrapping paper for CW-style melodrama between characters that lack charisma. It’s like an R-rated Arrowverse, and although it remains provocative, I’m not sure I care enough to stick around once The Boys ends. NICK With Jaz Sinclair’s Marie Moreau being the clear focal point of Gen V going forward, this season needed to improve upon her character, which it does in both the writing and Sinclair’s performance. Helping with that evolution is having a truly intimidating villain (something many superhero stories struggle with), played by a never better Hamish Linklater. Above all else, though, this entire season is a tribute to the late Chance Perdomo, and it is a touching one. I’m not sure there's much road left for this story after The Boys concludes with its fifth season, but Season Two was a nice step up. Check out our reviews for Season One HERE .

Previous Next October 5, 2023 WRITTEN BY: JACOB As is the case every year, there are plenty of Oscar-worthy films in 2023 that have either come out too early in the year or are bound to get lost in the shuffle as more things release and overtake their status. Rather than doing a traditional Oscar predictions piece, I thought I would simply provide a list of films that may end up competing in significant categories: things to watch, things to keep an eye out for, and things we all might be underestimating come awards time. I’ll only be discussing the more high-profile work that has come to bear, whether out of word-of-mouth, fall festival hype, or marketing strength, but let’s get started… THE CONTENDERS SO FAR BARBIE Greta Gerwig’s smash hit, Barbie , became more than a sensation at the global box office, it remains an outright phenomenon. The highest-grossing film of 2023 to date and Warner Bros. highest-grossing film ever, the pink-soaked pop examination of female agency, dreams, and the patriarchy as run by horses is one of the year’s best films outright, boasting the critical and audience acclaim to prove it. Warner Bros. has opted to run the film through the Original Screenplay category, which does give it a better shot at the win, but it may prove a challenge when it comes to overtaking another contender a bit further down the list. Best Shot(s): Best Picture, Best Director (Greta Gerwig), Best Actress (Margot Robbie), Best Supporting Actor (Ryan Gosling), Best Film Editing, Best Production Design, Best Costume Design, Best Makeup & Hairstyling, Best Original Song, Best Original Screenplay OPPENHEIMER On the other half of the “Barbenheimer” hype-wave lies one of director Christopher Nolan’s most accomplished works to date, and perhaps his most fully realized outside of Dunkirk in 2017. All-but-certain to finally net the acclaimed filmmaker the coveted Best Director Oscar he certainly deserves, Oppenheimer is more than a simple biopic of a controversial yet titanic historical figure. It is also an examination of the consequences of creation – how it slips out of the creator’s control, the devastating effects it can have, and whether mankind could ever be trusted not to destroy itself given the chance. Marvelous in nearly every way, this visionary achievement stands on the strength of its technical prowess (though that’s not all it has going for it). Best Shot(s): Best Picture, Best Director (Christopher Nolan), Best Actor (Cillian Murphy), Best Supporting Actor (Robert Downey Jr.), Best Supporting Actress (Emily Blunt), Best Cinematography, Best Film Editing, Best Production Design, Best Original Score, Best Adapted Screenplay, Best Sound PAST LIVES You may not have known it given all the space Barbie and Oppenheimer occupied over the summer’s box office, but there was at least one quietly devastating indie released this summer in the form of Celine Song’s beautifully rendered love story Past Lives . Debuting at Sundance and later rolled out by A24 over the last weeks of June, Song’s saga of longing and grieving, not to mention the catharsis present within both, is a delicate ballet on the thinnest tightrope of emotion. Greta Lee, Teo Yoo, and John Magaro are as enrapturing as any three characters have ever been in a film like this, thanks in no small part to Song’s brilliant screenplay. It may not have the cultural status of some other summer films, but don’t count this one out of the Oscar race by any measure. Best Shot(s): Best Picture, Best Director (Celine Song), Best Actress (Greta Lee), Best Supporting Actor (John Magaro), Best Original Screenplay SPIDER-MAN: ACROSS THE SPIDER-VERSE While I’m not as convinced as some others that this film is going to be competing in the Best Picture category (the superhero and animation biases may be fading, but they still exist), that doesn’t mean it wouldn’t be a worthy inclusion, and it certainly doesn’t mean that it won’t be competing beyond Animated Feature. The sequel to one of the most revolutionary animated films ever made once again ups the ante to deliver the most visually stunning Spider-Man movie yet (as well as, much like its predecessor, one of the best ever put to screen, full stop). It’s chock full of heart, humor, terrific voice performances, ace writing, and incredible sound & music. Even at 140 minutes, it’s one of the most rewatchable animated and superhero films ever made, and in my book at least, one of the best films of the year.. Best Shot(s): Best Picture, Best Animated Feature, Best Original Score, Best Sound STILL TO COME ANATOMY OF A FALL Directed by Justine Triet to great acclaim out of Cannes and Toronto International Film Festivals, this international thriller has garnered quite a bit of attention for its script and the performance of lead actress Sandra Hüller. Time will tell if that’s enough to boost Triet’s Best Director odds (especially given the lack of female directing nominations in recent years), but with France opting to submit The Taste of Things for International Feature instead, it only has the big categories to fight in. Best Shot(s): Best Picture, Best Director (Justine Triet), Best Actress (Sandra Hüller), Best Original Screenplay THE COLOR PURPLE Given that no one has seen The Color Purple yet, determining whether it will compete for awards (and for how many) can be especially tricky. That said, a Christmas Day release for a reimagining of one of movie history’s most famous stories, one that is also an adaptation of the Broadway musical based on that story, is nothing to sneeze at. Given the trailer, I’m willing to bet this one goes pretty far. Best Shot(s): Best Picture, Best Director (Blitz Bazawule), Best Actress (Fantasia Barrino), Best Supporting Actress (x2) (Danielle Brooks, Taraji P. Henson), Best Supporting Actor (Colman Domingo), Best Costume Design, Best Makeup & Hairstyling, Best Original Song, Best Sound THE HOLDOVERS Word-of-mouth on The Holdovers has been incredibly strong, with many claiming it’s Alexander Payne’s best film in years. At the very least, it looks like a uniquely lensed experience with the heart of a great 70s dramedy, and it’s good to see Paul Giamatti back in fighting form as a movie actor. Count me in. Best Shot(s): Best Picture, Best Director (Alexander Payne), Best Actor (Paul Giamatti), Best Supporting Actress (Da’Vine Joy Randolph), Best Film Editing, Best Original Screenplay KILLERS OF THE FLOWER MOON Director Martin Scorsese returns to the silver screen for his sixth collaboration with lead actor Leonardo DiCaprio, who this time is boosted by mostly former but frequent Scorsese muse Robert De Niro in the supporting chair. Add in a potential Oscar- winning turn from Lily Gladstone, plus the presences of Jesse Plemons and newly minted Best Actor winner Brendan Fraser, and that’s one hell of an ensemble. Word on this one after its Cannes premiere was extremely high. Personally, I’ve recently been reading Killers of the Flower Moon by David Grann, and let me tell you… even at pushing four hours, this thing is going to pack a wallop. Best Shot(s): Best Picture, Best Director (Martin Scorsese), Best Actor (Leonardo DiCaprio), Best Actress (Lily Gladstone), Best Supporting Actor (Robert De Niro), Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design, Best Original Score, Best Adapted Screenplay, Best Sound MAESTRO At long last, Bradley Cooper returns to direct himself and Carey Mulligan (whose star has never shone brighter) in a biopic about the great Leonard Bernstein. While word on this one is that Cooper’s directorial effort may not be enough to snuff out the competition, his performance is on another level, which is saying something considering his pedigree in that department. Beyond that, the film has a solid team on its production side, which could give it exactly the boost it needs come awards time. Best Shot(s): Best Picture, Best Director (Bradley Cooper), Best Actress (Carey Mulligan), Best Actor (Bradley Cooper), Best Cinematography, Best Film Editing, Best Production Design, Best Makeup & Hairstyling, Best Original Screenplay, Best Sound ORIGIN Love it or hate it, Ava DuVernay’s Origin came out of nowhere and has seemed to garner quite the fanbase following its debut at Venice Film Festival. That said, it’s still too soon to tell exactly how many awards this one could compete for, so I’m keeping it to the ones that would be most likely for now, should it turn out to be stronger than expected. Best Shot(s): Best Picture, Best Director (Ava DuVernay), Best Actress (Aunjanue Ellis-Taylor), Best Adapted Screenplay SALTBURN Oh, Emerald Fennell, you poor director. The mixed reviews on Saltburn give me pause as to just how well it can actually do when the going gets rough, but it seems to be staying in the consciousness of awards voters all the same. There’s a lot that individual nominations can do when put together, and even if this one can’t crack the Best Picture field (which it has not yet given up on), it’s sure to compete in some lower categories. Best Shot(s): Best Picture, Best Actor (Barry Keoghan), Best Cinematography, Best Production Design, Best Costume Design, Best Original Screenplay POOR THINGS The buzz on Yorgos Lanthimos’ Poor Things is through the roof, to the point where it’s widely anticipated that Emma Stone could very well win her second Oscar for her performance. Pair that with its Golden Lion win in Venice, and it’s pretty much guaranteed to at least appear in the Best Picture category, and is likely to be a major contender across the board, even going so far as to perhaps overperform in nominations alone. Just how likely it is to win other categories (apart from Stone) will depend on what it ultimately competes against, but make no mistake, it’s competing. Best Shot(s): Best Picture, Best Director (Yorgos Lanthimos), Best Actress (Emma Stone), Best Supporting Actor (x2) (Mark Ruffalo, Willem Dafoe), Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design, Best Makeup & Hairstyling, Best Original Score, Best Adapted Screenplay THE ZONE OF INTEREST Sight unseen, I believe The Zone of Interest will be a much larger topic of conversation in the Best Picture race once released. From what I understand about it, this Holocaust-set story is a shaking one, which could make voting for it hard to stomach but easy to believe in. The directorial skills of Jonathan Glazer are sure to carry it through to a significant number of nominations. Best Shot(s): Best Picture, Best Director (Jonathan Glazer), Best International Feature, Best Cinematography, Best Original Score, Best Adapted Screenplay, Best Sound OTHER POSSIBLE CONTENDERS - AIR - AMERICAN FICTION - THE BIKERIDERS - FERRARI - THE KILLER - PRISCILLA - RUSTIN

THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL Starring: Pom Klementieff, Dave Bautista, Chris Pratt, Kevin Bacon, Karen Gillan, Bradley Cooper, Vin Diesel, Sean Gunn, Maria Bakalova, and Michael Rooker Director: James Gunn AMARÚ Mantis (Pom Klementieff) and Drax (Dave Bautista) are the perfect focal point for The Guardians of the Galaxy Holiday Special because their wide-eyed, childlike ridiculousness brings all the heart you need to overlook the light human-trafficking occurring on screen. Only James Gunn could write and direct a plot to kidnap Kevin Bacon (playing himself), and make you feel the Christmas spirit the whole way through. He’s a master at tugging heartstrings in the unlikeliest of situations, and here is no different. This Holiday Special is weird and whimsical, and it will surprise you in more ways than one. JACOB The Guardians of the Galaxy Holiday Special may overuse a few jokes here and there, but it’s still a rollicking good time, especially for fans of these characters. The story mostly revolves around Mantis (Pom Klementieff) and Drax (Dave Bautista) attempting to kidnap Kevin Bacon (as himself), but it’s Klementieff who gets the acting spotlight for these 45 minutes. There are some pretty huge revelations that should maybe have been saved for one of the MCU’s feature films, but apart from that, this is a holiday special Disney can be proud of (sprinkled with a few fun cameos). QUENTIN Just so you know, I’m not a huge Christmas guy. Like, I enjoy the gift-giving aspect of it, but I don’t get into the pomp and circumstance of decorating a tree and the forced Hallmark-ness of it all. It’s just not my thing. That said, the MCU’s first Christmas special is a charmingly goofy delight. Sure, it’s slight, but everything about it comes together really well, especially as they manage to balance the heartwarming aspects with director James Gunn’s typical comedic shenanigans. Also, from a broader MCU perspective, Mantis (Pom Klementieff) finally becomes a fully fleshed-out character, and who doesn’t want more Yondu (Michael Rooker)? PAIGE Ho! Ho! Ho! The Guardians of the Galaxy are back with a cheerful holiday special that is the most heartwarming MCU entry thus far. It’s the merriest special that feels like an immediate holiday classic. I truly had a blast, and I believe this gem could put any grinch in the Christmas spirit. There are a ton of delightful and hilarious moments, led by the dynamic duo of Drax (Dave Bautista) and Mantis (Pom Klementieff), delivering us the perfect holiday gift…Kevin Bacon (as himself)!

Previous Next November 27, 2024 WRITTEN BY: THE BITESIZE CREW It’s Thanksgiving, and while we at Bitesize Breakdown have so much to be thankful for, we won’t bore you with that. I mean, this is a movie and television website, right? So, in an effort to keep things relevant and on brand, we’re going to celebrate T.Hanksgiving instead, where we celebrate America’s Dad and cinematic icon Thomas Jeffrey Hanks. On the big screen, Hanks has been capturing our hearts and imaginations since his film debut in 1980’s He Knows You’re Alone all the way through this year’s Here . He stepped behind the camera twice to direct That Thing You Do! and Larry Crown e, and he has been credited as screenwriter on four separate projects. He has been nominated for six Oscars (winning for Philadelphia and Forrest Gump in back-to-back years) and 10 Golden Globes, including the esteemed Cecil B. DeMille award in 2020. And that’s just the start. He has also been awarded a slew of awards from organizations ranging from the popcorn-fun MTV Movie Awards to the well-respected Screen Actors Guild to the prestigious American Film Institute, including the AFI’s Lifetime Achievement Award in 2009, not to mention the Critics Association and People’s Choice awards that are too numerous to list here. Suffice to say, he has pretty much done it all in film. But wait, there’s more… He also has been wowing us on the small screen since 1980, first appearing on The Love Boat before going on to star in two seasons of Bosom Buddies . He also appeared as a guest star in classic series such as Taxi , Happy Days , Family Ties , 30 Rock , The Simpsons , and Saturday Night Live , which he has hosted a whopping 10 times and appeared as a non-host guest star an additional 10 times. He has produced critically acclaimed miniseries such as John Adams , From the Earth to the Moon , and Band of Brothers , even writing and directing episodes of the latter two. He also directed an episode of Tales from the Crypt . All of this has led to him being nominated for 13 Emmys (winning seven). Again, he’s done it all — comedy, drama, animated, horror, documentary. And we’re not done yet! He is a Shakespearean-trained actor who has appeared on stage 12 times between 1977 and 2018, even being nominated for a Tony Award for his performance in Lucky Guy in 2013. He has appeared in three music videos. He is known for his philanthropic endeavors and charitable donations, especially with veterans and the space program. He has been awarded a Kennedy Center Honors Medallion, the Presidential Medal of Freedom, the Douglas S. Morrow Public Outreach Award, the Navy Distinguished Public Service Award, and the French Legion of Honor, not to mention being made an honorary member of the U.S. Army Rangers Hall of Fame and an honorary citizen of Greece. Even off screen he has done it all! We could go on, mentioning that he has also written a book of short stories and a novel. Or that he, an avid typewriter collector, created an iOS app that emulates the experience of using a typewriter on your phone. Or that he’s an ordained minister. Or that he founded Hanx for the Troops, a coffee company that supports veterans and military families through a portion of its profits and various initiatives. Or that… You know what? You get it. The man is a national treasure beyond reproach. A man that has never even sniffed controversy, a rare thing these days. It’s with that last idea in mind that we want to give the man his due, and talk about the Hanks moments that we are most thankful for — T.Hankful, if you will. Happy (American) Thanksgiving from Bitesize Breakdown! YOU'VE GOT MAIL If I'm forced to pick just one Tom Hanks film to write about, it has to be my favourite rom-com, You've Got Mail . I know, a weird choice, right? Often viewed as the lesser collaboration with Meg Ryan, You've Got Mail is one of those films I can't help but stick with when I come across it while channel surfing (when we still did that). The reason it works as well as it does is two-fold. One, although our leads are oblivious to who they're communicating with, director Nora Ephron never conceals that from the audience, which allows everything to build to a wonderful crescendo when the secret is revealed. And two, Hanks and Ryan come with a chemistry that is somehow even stronger than their Sleepless in Seattle days. Hanks especially walks a tightrope between hero and villain, at times balancing drive, love, greed, and compassion. It's a subtly layered performance and among my favourites of his. — Nick FORREST GUMP The Hanks movie that I’m most grateful for not only won Best Picture, but also won Hanks his second Oscar: Robert Zemeckis’ Forrest Gump . While I understand that some may find this movie to be controversial while claiming it hasn’t aged well, I can’t help but find myself so in love with the story that I always rewatch it. There are so many positive lessons that can be taken away from this uplighting film, whether it be staying optimistic, following your heart, or simply appreciating life. Its view of “life is like a box of chocolates, you never know what you’re gonna get” is so prominent and powerful, and through the snapshots of Gump’s (Hanks) life, that ideal makes for a heartwarming throughline that makes you feel like you can achieve greatness, no matter the limitations. It also stresses that being kind to one another goes a long way. It’s one of those rare films that delivers a message of hope, which is largely thanks to Hanks' extraordinary performance. Forrest Gump isn’t just my favorite Hanks’ film, it’s also my favorite Hanks’ performance. — Paige TOY STORY Tom Hanks’ iconic voicing of Woody the Cowboy in Toy Story defined his endearing persona for an entire generation whilst also solidifying his reputation as the most likeable actor in Hollywood. Woody captures the actor’s quintessential innocence and sincerity, boiling down his most charming characteristics into a perfect performance that created one of the most beloved animated characters ever. Toy Story was notably the first computer-generated animated feature film, introducing stylistically innovative graphics and movement, ultimately leading to one of the highest-grossing animated franchises of all time, and Hanks’ voice is an integral part of its enduring success and impact. Through his filmography, Hanks has demonstrated the capacity for a wide emotional range through extremely varied performances, and he uses that proven ability to deliver a vocal performance that is imbued with a sense of earnestness, humour, absurdity, and appropriate seriousness in such a heartwarming way that it’s relatable for children and adults alike. Hanks truly brings the toy to life. — Katie TOY STORY 4 BLOGXILLA INTERVIEW Shout out to Xilla Valentine for creating my absolute favorite Tom Hanks moment by arbitrarily giving both Hanks and his Toy Story co-star Tim Allen a black card. This gesture of generosity immediately puts Hanks in a focused state, while Allen goes from friendly to uncomfortable in 0.2 seconds. If you haven’t heard it, the interview proceeds to ask the pair, “what is the biggest debate in black culture?” This kicks off the first of 100 looks that Allen gives Hanks as he screams internally for help. Meanwhile, Hanks — without hesitation — chooses “Jay-Z vs. Nas.” Then, the icing on the cake… Valentine asks them what they would bid if they were playing spades, and both they and their partner have “4 and a possible.” If, at this very moment, you’re reading this and have no clue what I just said, you are, in fact, also Allen, who states, “I don’t have any idea what you guys just said… I just want to move on.” This prompts cookout regular, don’t-need-no-invite Mr. Hanks to 1). hit Allen with the Nick Young meme; 2). mention he was raised in Oakland, CA; 3). state that he prefers bid whist; and 4). completely leave his co-star behind to have the most natural black-ass conversation for the next 15 seconds. My goodness, watching America’s Dad thrive while Buzz Lightyear quietly sits as a deer in the headlights was a glorious, glorious thing to watch. — Amarú SAVING PRIVATE RYAN One of the things that makes Saving Private Ryan so fantastic is the historical accuracy, a surprising rarity in film, which I really appreciate as a retired Army guy. I was still in high school when the film came out, but Tom Hanks’ portrayal of Captain Miller set the baseline of what I believe down-to-earth military leadership should look like. He perfectly captures what it is to be a normal, flawed man with legitimate fears in the face of danger, while still overcoming said fears to be the effective combat leader that is needed. He lets some things slide, but he handles his stressors and those of his men with smart adeptness. The trueness of his character is remarkable. Plus, outside of The Matrix , Saving Private Ryan is my favorite theater-experienced film of all-time. On the big screen, the opening scene of pure, fog-of-war chaos puts you right into the film with absolutely superb and terrifying sound, as evidenced by its two Oscars for Sound and Sound Effects Editing, not to mention Oscars for Cinematography, Director, and Film Editing. It’s a modern masterpiece. Side note: since no one else mentioned it, Big is also the shiz! — Preston CAST AWAY Despite the absolute downfall of director Robert Zemeckis, I'll always point to 2003's Cast Away as his last banger. The simple but effective concept — a man stranded on a deserted island — is easy enough to grasp, but for it to work, you need a likeable actor that can bring unbridled humanity and pure rawness to the character because you need the audience to root for the guy beyond generic primal instinct. Enter Tom Hanks. Just from a basic human standpoint, watching an A-list actor as beloved as Hanks’ fight for survival is enough to catch your interest, but he brings so much humanity to Chuck Noland that every decision he makes, every emotional beat he feels, and every solitary moment gains an extra level of gravitas thanks to Hanks carrying them ably on his back. In a weird way, as much as I was rooting for his survival, I could watch Hanks on that island for hours on end. — Adriano AMERICA’S DAD Here’s the thing about Tom Hanks… despite all the fame, fortune, awards, movies, SNL appearances, and more, Hanks is a guy that I’d just love to grab a beer with. And more importantly, if the context and timing were right, I’m not entirely sure he’d decline the invitation. He’s just a regular guy who finds himself in the lofty position of being a megastar, so he chooses to use that power for good. Whether it’s crashing a random wedding (which he has done numerous times), returning a jogger’s ID he found in Central Park through a tweet, or joyously posing in photos with a “drunk” fan, Hanks is the rare A-Lister who uses his stature to engage with fans while poking fun at himself. The kind of guy who will star in a Carly Rae Jepsen music video just because. Or that will buy The White House a new coffee maker because they needed a new one, then replace it three more times when it broke. Or that will give a cab driver tickets and backstage passes to a Broadway show he was starring in because they had a fun interaction after being picked up. Or that will send a fan a typewriter as a gift, as well as scheduling a one-on-one get together, when the fan randomly gave him a sketchbook she had made of his films on a red carpet. Or, in 2020, that will send a letter and typewriter to an 8-year-old boy named Corona who was being bullied because of his name. Even the fact that he collects typewriters is down-to-earth. The list goes on… In one of my favorite exchanges, Hanks’ son — and I swear I’m not making this up — aspiring rapper Chet Haze explains the Drake/Kendrick Lamar beef to good ol’ dad via text (Haze shared screengrabs on X). Hanks’ responses are so wholesome and pure in a “this is a thing my kid and I can connect over. He’s interested, so I’m interested” way that it, alongside the examples mentioned above, endears you to the man in such a way that you probably felt genuine heartbreak and concern when Hanks was one of the first celebrities to announce he had COVID in March 2020. The closest he has ever come to “controversy” is when he told paparazzi to “back the fuck off” after they tripped his wife, Rita Wilson, almost causing her to fall to the ground. But still… that’s exactly what you would expect any salt-of-the-earth husband to do for his wife. And then, you could hear genuine remorse in the paparazzi’s apology. It was very much an “I’m not mad. I’m just disappointed” moment, with the paparazzi giving “being disappointed in me is so much worse than being mad at me” vibes. I mean, just think of how hard it must be to make the fucking paparazzi feel bad, yet Hanks did it. That’s America’s Dad Energy right there. — Quentin

ONLY MURDERS IN THE BUILDING: SEASON FIVE Starring: Steve Martin, Martin Short, Selena Gomez, Da'Vine Joy Randolph, Meryl Streep, Michael Cyril Creighton, Téa Leoni, Bobby Cannavale, Renée Zellweger, Logan Lerman, Christoph Waltz, Keegan-Michael Key, Beanie Feldstein, Dianne Wiest, and Jermaine Fowler Creators: Steve Martin and John Hoffman QUENTIN In its fifth season, Only Murders in the Building remains as well acted and charmingly elegant as ever despite its increasing reliance on low-key shark-jumping. Honestly, the series might be better served by dropping the podcast gimmick entirely to simply focus on the dynamic between these lovable misfits (the series’ strength). The overuse of guest stars and the (admittedly self-aware) plot point of The Arconia being a hotbed for murder is getting a little tired. Also, if I may brag a bit, I called the killer fairly early on, so the writing is losing a step on the whodunnit front. Still, it's enjoyable, just losing steam. AMARÚ At some point in time, the number of murders that only happen in the building had to get stale, and for Season Five, it kind of did. At least until episodes that highlight great characters like Teddy Coluca’s Lester remind you why you fell in love with the Arconia’s goofy tenants. Unfortunately, a few endearing episodes aren’t enough to live up to the first couple of seasons’ freshness, no matter how many new guest stars you add (I’m always here for Logan Lerman). Steve Martin Short, Selena Gomez, and the ensemble are funny enough to power through, but this season got much older much quicker. ROBERT When rumors swirl of a show ending, even if unfounded, an audience might start coming to terms with a conclusion. I remember hearing of Steve Martin’s impending exit during Season Three of Only Murders in the Building , and I thought it made sense given the age of two-thirds of the stars and the increasing tenuousness of believability in the premise. Two seasons later, and despite my consistent joy at witnessing the dynamic of the main cast together and with the peripheral characters, perhaps an earlier end would’ve served the show better. Kudos for staying relevant this long, but the next best death might be its own. Check out our reviews for Season Four HERE .

STRANGER THINGS: TALES FROM '85 Starring: Odessa A’zion, Jeremy Jordan, Braxton Quinney, Jolie Hoang-Rappaport, Brooklyn Norstedt, Benjamin Plessala, Elisha Williams, Luca Diaz, and Brett Gipson Creators: Eric Robles and Jennifer Muro PAIGE Stranger Things: Tales from ’85 is an under baked addition to this universe. With setting itself between Seasons Two and Three, the story ends up boxing itself in and fails to add or even really connect anything to the lore. That said, the 3D animation style is a standout that gives the series a fresh and unique look, and while it’s unfortunate that none of the original cast returned to reprise their roles, the new voice actors do a solid job of resurrecting these characters. In the end, this is fine, but isn’t really essential viewing for Stranger Things fans.

SUSPICION: SEASON ONE Starring: Kunal Nayyar, Georgina Campbell, Elyes Gabel, Elizabeth Henstridge, Angel Coulby, Lydia West, Clare Perkins, Tom Rhy Harries, Noah Emmerich, and Uma Thurman Creator: Rob Williams QUENTIN Apple got me on this one. Suspicion , which is marketed as a mystery thriller starring Uma Thurman and Noah Emmerich, has very few thrills, barely any Thurman, and not near enough Emmerich. Instead, you’re tossed down the rabbit hole with several seemingly unconnected (and possibly innocent) characters who are trying to navigate their lives after being accused of abducting a character the viewer doesn’t know. Since the viewer isn’t connected to the victim and it’s hard to connect with any of the accused because they aren’t all that interesting, the show is a stagnant, yet somehow convoluted, slog.

Previous Next Having already done our Non-MCU Marvel list and with the release of Blue Beetle this month, we figured what better time for the Bitesize crew to put their brains together to compile Bitesize Breakdown's consensus Top Five DC Films/Series. This list only includes DC branded releases. Imprints such as Vertigo were deemed ineligible. Each writer ranks his or her top 15 releases 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. BATMAN BEGINS It can't be overstated just how vital to the health of the superhero genre Batman Begins truly was at the time of its release. That it remains as fine an example as any of how to do an origin story nearly two decades later is both a testament to its quality and a reconstitution of the achievement of director Christopher Nolan. From its vision of Gotham City to its reimagining of the title character, it still exists as one of the greatest superhero films ever made. - Jacob 4. BATMAN (1989) When I was growing up, superheroes didn't dominate cinema the way they do now. So, when Michael Keaton donned the cowl to become Batman, matched up against Jack Nicholson's unhinged Joker, I was enamoured. Featuring the perfect marriage of director Tim Burton's horror sensibilities (which were expanded on even more in the sequel Batman Returns ) and its two dynamic lead performances, this film is the catalyst for everything we've come to love in the genre today. As for how it holds up nowadays? It's no coincidence Warner Bros. brought Keaton back as the Caped Crusader over 30 years later. - Nick 3. THE SUICIDE SQUAD I like my comic book movies gritty, and director James Gunn gave me that with 2021's The Suicide Squad while also mixing in the perfect balance of playfulness. He did a fantastic job of assembling some of DC’s most unknown criminals into an exhilarating team of antiheroes that we have now come to love (I’m talking about you, King Shark (voiced by Sylvester Stallone) and Peacemaker (John Cena)). Compared to 2016’s Suicide Squad , this flick is filled with A LOT more humor, heart, and, of course, violence… just loads of bloody violence. It’s also oddly sincere. We need more R-rated superhero films like this! - Paige 2. THE BATMAN “When that light hits the sky, it’s not just a call. It’s a warning.” The Batman gives the world’s greatest detective the film he deserves in a gritty, intense, and fascinating noir film. Director Matt Reeves’ iteration of the character is dark (but not in a cold way) as the film takes its time to develop Bruce Wayne (Robert Pattinson) in a way not seen before on the big screen. Not to mention, with Michael Giacchino’s beyond-catchy score and Greig Fraser’s astounding cinematography, The Batman is a comic book film for the ages. - Adriano 1. THE DARK KNIGHT There are many reasons that Bruce Wayne is running rampant up and down this whole damn list, and The Dark Knight is reason number one. Literally. There was no other choice here (except maybe a miniseries that gave many Americans much needed history lessons). The magnitude in which Heath Ledger, Christian Bale, Morgan Freeman, Christopher Nolan, Hans Zimmer, James Newton Howard (those last two are composers, people), and even Michael Jai White deliver has been spoken upon thousands of times before, and we all know why. This movie is damn near a masterpiece top to bottom, not just one masterful performance. You all knew this was gonna be here while scrolling down this particular Top Five, so don’t act surprised. - Amarú HONORABLE MENTIONS PEACEMAKER JOKER WATCHMEN (2009) MAN OF STEEL BATMAN RETURNS Photo Credits: Warner Bros.

Previous Next With Rocket Raccoon's story coming to a close as the Guardians of the Galaxy franchise end, the crew decided to compile Bitesize Breakdown's consensus Top Five Animated/Mo-Cap Characters in Live Action Films. Each writer ranks his or her top 15 characters in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. DAVY JONES In a movie that has a noticeable dip in quality and narrative coherence than its predecessor, one of the shining standouts of Pirates of the Caribbean: Dead Man's Chest is Bill Nighy's performance as Davy Jones. One of the most underrated creature designs of the modern era, the half man/half aquatic pirate is ripped straight from lore and reimagined as a pipe-smoking, peg-legged menace to Jack Sparrow (Johnny Depp) and his crew. Nighy's voice work, ILM's animators (combining both computer-generated images and hand-drawn animation), and Gore Verbinski's direction makes Jones a delightful character overshadowed by Sparrow's zany antics. - Darryl 4. ROCKET RACCOON Everyone’s favorite trash panda, aka Rocket, has got to be one of the best motion-capture characters to ever grace the silver screen. He’s certainly my favorite Guardian of the Galaxy. By having Rocket voiced by the talented Bradley Cooper, combined with Sean Gunn’s great motion-capture work, the character pops off the screen. It makes their work some of the best in the MCU. Together they crafted a realistic approach to the character that made Rocket resemble his comic book counterpart perfectly. - Paige 3. SMÉAGOL/GOLLUM The history of motion-capture should be divided into two time periods: Before Sméagol and After Gollum. Three minutes of Sméagol talking to Gollum is better than some actors’ entire career. Yes, there may be more acclaimed Andy Serkis mo-cap roles, but nothing brought more clout to the seriousness of the art form than this transformational dual role. - Amarú 2. THANOS From a character perspective, Thanos is a presence that haunts more than 20 MCU movies without being on screen all that much; a big bad that is mostly just alluded to until he finally arrives in full form in Infinity War . When he takes center stage, Josh Brolin delivers an incredible performance, bouncing easily between outright villainy, measured reason, and, at times, heartbreaking relatability. Even on a superficial level, I’m not sure I could have picked a better voice for The Mad Titan either. - Quentin 1. CAESAR When I think of mo-cap performances, Andy Serkis' portrayal of Caesar in the Planet of the Apes reboot trilogy is always the first to come to mind. The three-film arc of Caesar is among the best character arcs in years, mo-cap or otherwise, and it is all thanks, in large part, to Serkis' ability to humanize the ape. He's exceptional and the strongest case yet for a mo-cap performance deserving a Best Actor nomination. The final shot of his eyes in Dawn of the Planet of the Apes still sticks with me. - Nick HONORABLE MENTIONS ROGER RABBIT KING KONG HULK KORG TED Photo Credits: Photo 1, 2, 4 - Disney; Photo 3 - New Line Cinema; Photo 5 - 20th Century Studios

Previous Next February 9, 2023 WRITTEN BY: ADRIANO The 2023 Sundance Film Festival has wrapped up, and this year, I had the pleasure of attending in person for the first time. There was quite an array of films premiering, from crowd-pleaser comedies to heavy character dramas, and while I only attended four days of the 11-day festival, I was still able to see a nice collection of films. Of course, there were a few movies I wish I had been able to see, like Shortcomings and The Persian Version but I was simply unable to due to time constraints. Still, with this being my first Sundance, I consider it a success. Park City, Utah, is a lovely place full of amazing people, and the experience I had is one I’ll never forget. I can’t wait to return next year! Below, you’ll find my official ranking of everything I was able to see at the 2023 Sundance Film Festival: 9. EILEEN It certainly says something about the quality of films I saw that my least favorite film is one that I don’t even dislike. I just don’t love it. Eileen initially captivated me with its central relationship, which is elevated by the chemistry between and performances of Anne Hathaway and Thomasin McKenzie. The pacing is a little rough, but it’s interesting enough, and it’s complemented with appealing cinematography and a score that I don’t think is getting enough attention. However, the third act takes one of the biggest left turns in recent memory. A single sentence is uttered, and the entire movie shifts completely – not to the point that it makes the movie bad, but it made me wonder, “then why did I watch the first two acts?” There are ways to go from tender to intense in an organic way, but this movie doesn’t pull it off. Starring: Thomasin McKenzie, Anne Hathaway, and Shea Whigham Director: William Oldroyd Release Date: TBD 8. MAGAZINE DREAMS Before I get into my issues with Magazine Dreams , let me get this out first: Jonathan Majors is fantastic. He alone is worth the price of admission because he’s so committed to the role of a broken man constantly pushing himself closer to the edge of his own sanity. He pulls it off in a way that’s mortifying while still managing to keep you on his side. The movie itself does a good job of making things uncomfortable yet entertaining, but unfortunately, it never rises to Majors’ level despite director Elijah Bynum setting a tone that feels like Taxi Driver meets Whiplash . The film’s main failing comes from the script. There are too many moments where Bynum was seemingly going for disturbing, yet they wound up being unintentionally funny. I also don’t think the results of all the bad hands dealt to Majors’ character were organic, so it had me questioning a lot of the extreme choices he made in the final act. Honestly, if it weren’t for Majors giving a career-best performance, I might’ve started laughing at a lot of the creative decisions. Still, let me reiterate: Majors made this a mostly worthwhile experience, but I left Magazine Dreams feeling like it’s a wash. Starring: Jonathan Majors, Haley Bennett, Taylour Paige, Michael O’Hearn, Harrison Page, and Harriet Sansom Harris Director: Elijah Bynum Release Date: TBD 7. A THOUSAND AND ONE Now, we start getting to the good stuff! To be frank, I wasn’t planning to watch A Thousand and One simply because it wasn’t on my radar, so I went in completely blind. At the start, I was unimpressed, with thoughts of “oh boy” and “I’ve seen this before” crossing my mind. It also didn’t help that there are plenty of moments throughout where you can tell this is A.V. Rockwell’s directorial debut, especially with the editing choices. However, fairly quickly, I got much more emotionally invested in what was happening on screen, and by the end, I was devastated. Ultimately, this film rides on the shoulders of Teyana Taylor’s performance, and never once in the entire film does she miss a beat as a poor woman navigating obstacle after obstacle. There is a twist at the end that I thought was about to ruin everything, but Rockwell managed to turn it into one of the most powerful finales I could have asked for. Starring: Teyana Taylor, William Catlett, Josiah Cross, Aaron Kingsley Adetola, and Aven Courtney Director: A.V. Rockwell Release Date: March 31, 2023 6. CAT PERSON Cat Person is inevitably going to be divisive, but I come down on the positive side. I can certainly see where some criticisms are coming from because it does ultimately go off the rails while featuring some questionable editing choices. Still, I was quite into the anti-chemistry that Emilia Jones and Nicholas Braun have together. From the get-go, you just feel that these two characters do not belong together, which pushes itself to its logical conclusion in ways that are both nightmarish and very real. Since I didn’t read the short story this movie is based on, I can’t make comparative statements in that regard; however, the movie succeeds in examining modern relationships and how they are intertwined with toxic masculinity. It’s told in ways that are uncomfortably frightening in one moment and gut-busting hilarious in the next. It won’t work for everybody, but this has stuck with me ever since I saw it. Starring: Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Hope Davis, Fred Melamed, and Isabella Rossellini Director: Susanna Fogel Release Date: TBD 5. THEATER CAMP If I’m being honest, I don’t have anything deep to say about Theater Camp . I just loved it, plain and simple. It’s a light-hearted film that only wants you to have a good time, which it definitely succeeds at. I was laughing constantly throughout the film, thanks not only to the funny writing, but also the cast. The kids especially are hysterical. That said, I was a theater kid growing up, so there are a lot of inside jokes for people like me. I would recommend this movie to everyone, though. Even the ending, which is so cheesy, really works to give a nice finale that tugs at the heartstrings. Overall, Theater Camp was amongst the most endearing films at the festival. Starring: Molly Gordon, Ben Platt, Noah Galvin, Jimmy Tatro, Patti Harrison, Ayo Edebiri, Amy Sedaris, Caroline Aaron, Nathan Lee Graham, Owen Thiele, Alan Kim, Kyndra Sanchez, Luke Islam, Bailee Bonick, and Alexander Bello Director: Molly Gordon and Nick Lieberman Release Date: TBD 4. JOYLAND The first film I saw at the festival was probably the toughest watch, and I mean that in all the best ways possible. Initially, I was in the headspace of “why am I watching this?” before it quickly reveals itself to be a harrowing character study of a trio of characters: Haider (played incredibly by Ali Junejo), his wife (a scene stealing Rasti Farooq), and his transgender boss & love interest (Alina Khan). The film explores queer identity in Pakistan as well as generational and cultural trauma. By the end, it punched me square in the gut thanks to the outstanding screenplay by Maggie Briggs and director Sam Sadiq. I also can’t forget to mention just how amazing the cinematography by Joe Saade is. Starring: Ali Junejo, Rasti Farooq, Alina Khan, Sarwat Gilani, Salmaan Peerzada, Sohail Sameer, and Sania Saeed Director: Saim Sadiq Release Date: TBD 3. FLORA AND SON The final film I saw at Sundance was also my most anticipated of the festival. Thankfully, it did not disappoint. I’m a huge fan of director John Carney, and once again, he dives into the idea that music can heal broken relationships and yourself, albeit not in ways that exceed his previous efforts. That said, Flora and Son is still a lovely film with a really strong heart. By the end, I think I fell in love with Eve Hewson. She oozes so much charm and likability that even the crassest lines come off as endearing. The relationship between her character and her character’s son is definitely the highlight, starting initially as a toxic bond that eventually makes way for love in a way that only Carney is capable of pulling off. Starring: Eve Hewson, Joseph Gordon-Levitt, Orén Kinlan, and Jack Reynor Director: John Carney Release Date: TBD 2. RYE LANE Rye Lane is, far and away, the most unique film I saw at Sundance. The deceptively simple premise makes way for director Raine Allen Miller to create some of the most interesting directorial choices imaginable. It’s a movie filled to the brim with style and creativity, not to mention one hilarious cameo that I didn’t even pick up on until the second shot. By the way, did I mention that this is Allen Miller’s directorial debut? It’s tremendous. David Johnson and Vivian Oparah make for an endearing lead duo because their chemistry is as palpable as it is hilarious. This movie will make you laugh, not just because of the obvious jokes, but also the background gags, subtle jabs, and blink-and-you'll-miss-it references that Allen Miller placed throughout the film. Truly, it’s a delightful film that, if it wasn’t for one other film I saw, would’ve easily been my favorite of the festival. Starring: David Jonsson and Vivian Oparah Director: Raine Allen Miller Release Date: March 31, 2023 1. PAST LIVES I was lucky enough to be at the premiere for this film, and if it hadn’t been for the fact that I ran straight from this to Magazine Dreams , I would’ve joined in giving Past Lives the big standing ovation it deserves. I was genuinely blown away by the poignancy of this film. It tackles themes of cultural differences, but in a more personal way by examining how human beings seek connection to one another and handle fate. Absolute kudos to writer/director Celine Song on her breathtaking accomplishment here, as well as to the spectacular cast, led to perfection by Greta Lee and Teo Yoo. The final scene between those two is something that I will not soon forget, and it struck such a nerve in me that I was both heartbroken and relieved at the same time. A perfect movie, truly. Starring: Greta Lee, Teo Yoo, and John Magaro Director: Celine Song Release Date: TBD Photo Credits: Sundance Film Festival