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Previous Next August 28, 2024 WRITTEN BY: ADRIANO The fall film festival season is here, with Venice, Telluride, Toronto (TIFF), and New York (NYFF) either currently underway or on the horizon. At first glance, the lineups appear to be a stark improvement over last year's overall slate, featuring plenty of much-buzzed-about films that’ll tell us which films to look out for this upcoming award season, as well as which films might be there simply to entertain for the rest of the year and beyond. With Venice having already begun, firing the season’s opening shot, let’s talk about the films I believe will be the most talked about this fall. Please note that I will only be discussing films having their world premieres at one of the four major fall film festivals — meaning, while premieres from Cannes or other pre-fall film festival titles certainly will have a major role this festival season, including Payal Kapadia's All We Imagine as Light , Coralie Fargeat's The Substance , Mohammad Rasolof's The Seed of the Sacred Fig , Jacques Audiard's Emilia Pérez , and most notably, Sean Baker's Palme d'Or-winning Anora , they will not be discussed here. Without further ado, it’s festin’ time! THE BRUTALIST (Venice, TIFF, NYFF) At first glance, The Brutalist seems like an Oscar bait movie. Starring Adrien Brody, Felicity Jones, and Guy Pearce, it is about a holocaust survivor immigrating to America to live "the American dream." Yawn, right? Well, let's now factor in that this movie is directed and co-written by Brady Corbet. Corbet is anything but traditional, and this film chronicles Brody's character over 30 years of his life, so I imagine it'll feature plenty of Corbet's unique approaches to filmmaking. There is no doubt in my mind that this movie will be one of the buzziest movies of the season, especially given that it has a headlining 215-minute runtime and, at least at Venice and TIFF, will be shown on 70mm print. For those who are willing to take the long trek, my best guess is that this will be a worthwhile journey. CONCLAVE (Telluride, TIFF) Fresh off his multi-Oscar-winning film All Quiet on the Western Front , director Edward Berger returns with Conclave , a political thriller starring Ralph Fiennes as a Cardinal tasked with selecting the next Pope. Based on an acclaimed novel of the same name, Conclave's source material is said to be a suspenseful page-turner. Obviously, time will tell how it's adapted, but the trailer does make it seem like Berger's cinematic sensibilities lend themselves to a thrilling experience. Plus, with Fiennes acting alongside the likes of Isabella Rossellini, Stanley Tucci, and John Lithgow, Conclave could be a crowd hit and one of the festival season's most thrilling ventures. THE END (Telluride, TIFF) The End might be my personally most anticipated film of the festival season. This is the feature debut of Joshua Oppenheimer, the director of The Act of Killing , generally regarded as one of the greatest documentaries of modern times due to its cinematic approach and big ideas. Now, we get his first narrative feature, a golden-era-style musical about a wealthy family who seemingly caused the end of the world, starring Tilda Swinton, George MacKay, Michael Shannon, and Moses Ingram. I envision this film being an eat-the-rich movie delivering a scathing commentary on one percenters, but given that this is a musical, I really just want to know what Oppenheimer has up his sleeves. HARD TRUTHS (TIFF, NYFF) One of my favourite filmmakers, Mike Leigh, returns with Hard Truths . Starring Marianne Jean-Baptiste, TIFF's website describes the film as a "challenging but ultimately compassionate look at modern family life," and "a psychologically rich ensemble film that only Leigh can cultivate." Now, admittedly, that's pretty vague. However, I don't think Mike Leigh has ever shown signs of slowing down. Many were mixed on Peterloo (I liked it a lot), but in terms of his post-2010s output, Mr. Turner and Another Year are pure Mike Leigh excellence. With Hard Truths looking to be another sobering and smartly written family drama, I couldn't ask for much more from the man. JOKER: FOLIE À DEUX (Venice) Arguably, the elephant in the room this festival season is Joker: Folie á Deux , which will follow in the footsteps of its predecessor and premiere at Venice. Unlike Joker , it seems to be stopping there, which makes some sense. Joker 's initial festival run was simply the best thing that could've happened for the film, winning the Golden Lion at Venice, garnering major Oscar buzz for Joaquin Phoenix (who wound up winning Best Actor), and generating obscene amounts of chatter. Now, since that time, Joker has (in my opinion, of course) not aged well, as most people now agree that it's a brilliantly made but pretty empty movie. Enter Joker: Folie á Deux . A film that, even for someone who doesn't love Joker , has me intrigued. I’m intrigued by how Lady Gaga will portray my favourite comic book character, Harley Quinn. I’m intrigued by the musical aspects. I’m intrigued by the interesting turns the trailer seems to suggest. I don't know what Joker: Folie á Deux will wind up being, but I'll be waiting to find out. MARIA (Venice, Telluride, NYFF) Director Pablo Larraín is always exciting. I’m not saying he always sticks the landing, mind you, but he's always interesting. Wherever you stand, you have to admit that Jackie and Spencer are two of the most creative and daring biopics we've gotten in the past decade. I love both deeply, so I cannot wait to watch him cap off the pseudo-trilogy with Maria . Starring Angelina Jolie as opera singer Maria Calla in her final years, written by Spencer writer Steven Knight, I can only imagine what discourse is waiting under the bleachers this time around. Larraín's sensibilities are always very engaging in their approach to the historical tragedies at the centre of it all, and if nothing else, he gets great performances. I'm so excited to see what Jolie pulls off. NIGHTBITCH (TIFF) What I imagine will be one of the most talked about movies of this season, Nightbitch has my interest piqued to wild levels. I don't know much about the source material, but what I do know is that Marielle Heller, director of the incredible Can You Ever Forgive Me? , wrote and directed this film about a woman convinced she's turning into a dog. I don't know what that entails, but I'm certainly intrigued to see what Heller does with such a bizarre concept. The movie stars Amy Adams in a role that has already won her the Performer Award at TIFF, so I cannot wait for that performance. Nightbitch could lean into the comedy of the situation, or it could lean into the craziness of the concept. Or both. I don't know. All I know right now is I can't wait. QUEER (Venice, TIFF, NYFF) For those like me, who absolutely love Challengers and are achingly waiting for what director Luca Guadagnino does next, luckily, we barely had to wait at all. His new film, Queer , written by Justin Kuritzkes, reteaming with Guadagnino after Challengers , is based on a well-reviewed book of the same name by William Burroughs. Set in the 1940s, Daniel Craig plays a man named William Lee, a heroin addict who becomes infatuated with a younger man, played by Drew Starkey. Craig has been my prediction to win Best Actor since the beginning of the year, and whether or not that becomes a reality, I imagine the performance will be unlike anything we've ever seen from him. While the plot does seem dour, I imagine Guadagnino's sensibilities will come through in beautiful ways. I really cannot wait to experience this one. THE ROOM NEXT DOOR (Venice, TIFF, NYFF) The great Pedro Almodóvar is back with his first English language film, The Room Next Door . Starring Julianne Moore and Tilda Swinton, Almodóvar's latest tells the story of a resentful rift between a mother and a daughter. Based on his past work, I imagine we'll get your typical Almodóvar fair of soapy character drama and incredible lead performances to compliment Almodóvar's excellent writing. Given that this is his first film in English, combined with the fact that he's already a big-name director with a star-studded cast hitting nearly all the major festivals, there is no doubt in my mind that this will end up as one of the season’s most buzzed about. SATURDAY NIGHT (Telluride, TIFF) Fun fact about me: I did plenty of research into the 60s-90s era of comedy in high school, and one of the things I am most knowledgeable about is Saturday Night Live 's inception. So, when I heard about Saturday Night , I was ecstatic. Director Jason Reitman may not be the most consistent, but given who his father is, he's a really good choice to anchor this story. Set 90 minutes before Saturday Night Live 's first show, the film stars Gabriel LaBelle as Lorne Michaels struggling to get his, and the show's, shit together before they hit the air. Featuring a stacked ensemble cast including Rachel Sennott, Cooper Hoffman, Willem Dafoe, Matthew Rhys, and J.K. Simmons, the trailer makes the movie seem less like the slightly funny biopic I was expecting and more of a high-octane comedy-thriller, which couldn't possibly make me more hyped.

Previous Next The Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Midyear Report. Each writer ranks his or her top 15 films or series 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. THE BATMAN The Batman not only excels in its technical aspects and as a kick-ass detective caper, it also succeeds in re-defining the character as a pop culture artifact. In thematically establishing vengeance as a force for infection rather than inspiration, director Matt Reeves reckons with who Batman is largely understood to be to the mainstream, and challenges his audience to look for something more in him than just a crime-fighting vigilante. - Jacob 4. STRANGER THINGS: SEASON FOUR - PART ONE The first part of Stranger Things ’ fourth season is possibly the series’ best (or, at the very least, darkest) entry yet. It’s scarier, sadder, and deeper than previous seasons, and showcases the cast’s talent to an even better degree than before. The show remains a cultural touchstone, and based on “Running Up That Hill”‘s nearly 40-years-later success, it’s safe to say Stranger Things has been one of the most impactful pieces of media released so far this year. - Joseph 3. CHA CHA REAL SMOOTH AppleTV+ could potentially have another Best Picture nominee on their hands with Cha Cha Real Smooth , one of the year’s biggest surprises. It’s a delightful coming-of-age dramedy that is charming, heartwarming, and grounded from start to finish. Anyone can relate to this film, which is what makes it so special. It has a great ensemble, featuring Dakota Johnson, Leslie Mann, and newcomer Vanessa Burghardt, while director/writer/star Cooper Raiff is forging an exciting path as a filmmaker to keep an eye on. - Paige 2. TOP GUN: MAVERICK If you want to know just how good Top Gun: Maverick is, consider this: it’s Tom Cruise’s first movie to open at over $100 million and his first movie to cross the billion dollar threshold. For an actor generally regarded as the last true Movie Star, that is remarkable. And with the completely earned sequel story, thrilling aerial stunts, and heartfelt emotional beats, it shouldn’t be too surprising that it also is one of the best movies of the year. - Quentin 1. EVERYTHING EVERYWHERE ALL AT ONCE Everything Everywhere All at Once is the best movie of the year, plain and simple. It’s a singular story with singular characters portrayed by singular actors. For a multiverse movie, that is a feat beyond anything you’ve ever experienced. Oscar nominations are a given, in every category, and it could easily win them all. - Amarú HONORABLE MENTIONS PEACEMAKER: SEASON ONE MARCEL THE SHELL WITH SHOES ON SEVERANCE: SEASON ONE HUSTLE THE NORTHMAN Photo Credits: Photo 1 - Warner Bros; Photo 2 - Netflix; Photo 3 - Apple TV+; Photo 4 - Paramount Pictures; Photo 5 - A24

TED Starring: Seth MacFarlane, Max Burkholder, Alaina Ubach, Scott Grimes, and Giorgia Whigham Creator: Seth MacFarlane NICK Much like he is in the films, Ted, the character, is funny. Ted , the show, however, is a bit more of a mixed bag. Playing like a hybrid of the film series and live-action Family Guy (but with less bite), the lack of consistent laughs are accentuated with the longer runtimes. At 22 minutes, these episodes could have been more succinct, with more frequent laughs, but there are entries upwards of 50 minutes here, which only shines a spotlight on the mediocre (and annoyingly New England) supporting characters. Ted has its laughs, but just isn’t able to hit like the films do. QUENTIN Though not without moments of slight amusement, Ted isn’t a prequel that is necessary viewing, even for franchise fans. It’s basically juvenile Family Guy -humor (not to mention the carbon-copy musical transitions) mixed with the sentimentality of cheap-looking, TGIF-era sitcoms, except with overlong episodes ranging from 34 to 51 minutes. Ted - and only Ted (Seth MacFarlane) - delivers enough improvisational-style observations to elicit a few chuckles, but the rest of the characters land somewhere between “well-intentioned, but bland” (Blair, played by Giorgia Whigham) and “annoying New England caricature” (Matty, played by Scott Grimes). That said, I didn’t hate it, but I certainly don’t need a second season.

ARCHER: THE FINAL SEASON Starring: H. Jon Benjamin, Judy Greer, Chris Parnell, Aisha Tyler, Amber Nash, Adam Reed, Lucky Yates, and Natalie Dew Creator: Adam Reed QUENTIN After 14 seasons and multiple reinventions (some great, some less so), Archer has finally come to an end, and it does so by going back to basics. Returning to the original idea of a group of degenerate spies doing a new mission each week, it feels more like classic Archer than it has in many seasons. Although Season 14(!) never comes across like a final season overall, there are moments of slight introspective (and hilarious) closure, even if the series isn’t the type to fully explore them with any depth. All in all, a fitting exit from the Danger Zone for a modern-day animated classic. KATIE The final series of Archer goes back to the show’s original formula, and it is all the better for it. Although I appreciate the creative directions the show took at some points, it’s at its strongest when it’s driven by insane missions and the chemistry between the main cast. The addition of a new character refreshes the dynamics and enables the other characters to be their most authentic and morally ambiguous selves in a way that reminds me of earlier seasons. I’m sad Archer is ending, but the final season is emblematic of all the things I love most about it.

Previous Next August 14, 2024 WRITTEN BY: PAIGE There are so many films released each year that it is impossible to be aware of them all, let alone watch them all. Unfortunately, even though movies are more widely available than ever, a lot of them still get lost in the shuffle. Is it that consumers feel more obligated to spend their money on highly publicized tentpole films rather than seeking out the less ostentatious films that receive minimal attention? Is it that studios care less about the smaller films, so they don’t waste their time and money telling you about them? Hard to say, but it's difficult to keep up with everything out there these days is my point. Personally, I go out of my way to seek out low-key films, the diamonds in the rough that flew under my, and most everyone’s, radar. The movies that make me think, “how the hell did I miss this? Why is no one talking about it?! It’s amazing!!" With that in mind, I've decided to shine a light on some of my favorite hidden gems released since 2020, including 2024 (two from each year). I promise you won’t regret checking them out! SPONTANEOUS (2020) Synopsis : When students in their high school inexplicably start to explode, two seniors struggle to survive in a world where each moment may be their last. Starring : Katherine Langford, Charlie Plummer, Piper Perabo, and Rob Huebel Director : Brian Duffield To be honest, I was expecting a typical young adult film when I came across Spontaneous , but I was pleasantly surprised by how wrong I was. The concept of this movie is absolutely bonkers, making it one of the most distinct and entertaining coming-of-age movies I've ever seen. Despite its gruesome subject matter, it's strangely a charming experience. It’s a witty-yet-dark comedy that has a lot to say about how young adults process mortality, the whims of life, and the fact that everything is unpredictable. With delightful performances and a clever premise, I can assure you that you won’t be disappointed with this watch. It's a bloody good time! THE VAST OF NIGHT (2020) Synopsis : In the 1950s, two kids search for the source of a mysterious frequency that has descended on their town. Starring: Sierra McCormick, Jake Horowitz, Cheyenne Barton, Gail Cronauer, and Bruce Davis Director: Andrew Patterson The brilliant and masterfully crafted, 1950s-set, sci-fi indie film The Vast of Night recognizes that, sometimes, less really is more. Even though it has a small budget, this flick has a great deal of style. The way the slow burn unfolds to the audience will capture your interest despite its straightforward plot. What people do in the face of mystery is the subject of this captivating invasion movie, and it's jam-packed with incredible tracking shots, eerie cinematography, and a strong script full of meaningful and intimate dialogue. If you're looking for an obscure sci-fi movie in the vein of The Twilight Zone or The Outer Limits , mixed with modern elements of J.J. Abrams’ Super 8 , then this movie is for you. MASS (2021) Synopsis : Years after a horrible tragedy turned their lives upside down, two couples, one, the parents of a victim of school shooting and the other, parents of the perpetrator, sit down to have a painful and heart-wrenching conversation. Starring : Ann Dowd, Martha Plimpton, Reed Birney, and Jason Isaacs Director : Fran Kranz I'll warn you up front: Mass features four outstanding performances that will leave you crying, so have a box of Kleenex on standby. That said, it remains a gut-wrenching film that you simply must watch. Grief is never an easy thing to convert into something concrete or intelligible, but this movie handles it in a way that demonstrates empathy and forgiveness with such grace and compassion. It explores the tragic grief of four parents in such a fascinating light. Despite the fact that the whole movie is set in a church basement, the subject matter stretches well beyond the room they are in. It's a real shame that this movie didn't get any Oscar buzz. WEREWOLVES WITHIN (2021) Synopsis : A snowstorm traps town residents together inside the local inn, where the newly arrived forest ranger and resident postal worker must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community. Starring : Sam Richardson, Milana Vayntrub, George Basil, Sarah Burns, Michael Chernus, Harvey Guillén, Catherine Curtin, Rebecca Henderson, Cheyenne Jackson, Wayne Duvall, Michaela Watkins, and Glenn Fleshler Director : Josh Ruben If you’re looking for a campy creature feature, then you need to check out this howling gem because Werewolves Within is a whole lot of fun from beginning to end. This horror comedy never takes itself too seriously because it knows exactly what it is, and it does an amazing job of balancing its wonderfully snappy banter, wacky characters, and bloody whodunnit mystery. Despite its absurdity, it’s a delightful film for all werewolf lovers to enjoy. I will admit it lacks scares, but who needs frightful moments when you're having a good time with some outlandish characters. If Knives Out and Fargo had a baby, this would be it. CHA CHA REAL SMOOTH (2022) Synopsis : A young man who works as a Bar Mitzvah party host strikes up a friendship with a mother and her autistic daughter. Starring : Cooper Raiff, Dakota Johnson, Leslie Mann, Brad Garrett, Vanessa Burghardt, Evan Assante, Raúl Castillo, and Odeya Rush Director : Cooper Raiff I've been raving about Cooper Raiff's second feature film, Cha Cha Real Smooth , ever since I saw it, so it's unfortunate that not many people are aware of it. As it stands, this happened to be my favorite film of 2022 because it’s such an endearing coming-of-age dramedy that is charming, heartwarming, and grounded from start to finish. Anyone can relate to this film, which is what makes it so special. The cast’s chemistry feels so authentic and real that I was enamored with each and every character. If you've never heard of Cooper Raiff until now, you should definitely keep his name in the back of your mind because he’s an exciting young filmmaker to be on the lookout for. DINNER IN AMERICA (2022) Synopsis : A punk rock singer seeking an escape and a young woman obsessed with his band unexpectedly cross paths, going on a journey together through America's decaying Midwestern suburbs. Starring : Kyle Gallner and Emily Skeggs Director : Adam Rehmeier Although this film had its official premiere at Sundance in 2020, it wasn't released to the public until 2022, which is a damn shame. This movie is an aggressively tender, in-your-face, punk-rock film with a heart of gold, so why was it kept a secret from the world for so long? It’s an oddball rom-com that is packed with fucked-up shenanigans from start to finish, a rad soundtrack, a captivating coming-of-age tale, and enticing chemistry between its two unlikeable lead characters. Given its anarchic vibe, it's one of those rare, edgy films that can be hard to come by these days. PALM TREES AND POWER LINES (2023) Synopsis : A lonely 17-year-old girl spends her summer break aimlessly tanning in her backyard with her best friend until she seeks comfort in an unseemly relationship with a 30-something man. Starring : Lily McInerny and Jonathan Tucker Director : Jamie Dack Although Palm Trees and Power Lines begins as a standard coming-of-age emancipation tale, the voyage quickly turns into something far darker. The movie is a daring and compelling cautionary tale that delivers a glimpse into how vulnerability can be manipulated in a relationship. It’s certainly a hard watch, but it can’t go unseen because of the delicate subject matter's careful handling, which allows the unpleasantness to feel genuine and grounded. A somber and realistic drama, it’s able to convey such potent and poignant depictions of the harsh truth of modern-day predators. If nothing else, teens should be obliged to watch it. THE SWEET EAST (2023) Synopsis : A high school senior from South Carolina gets her first glimpse of the wider world, picturesque cities and woods of the Eastern seaboard on a class trip to Washington, D.C.. Starring : Talia Ryder, Simon Rex, Ayo Edebiri, Jeremy O. Harris, Jacob Elordi, Rish Shah, and Earl Cave. Director : Sean Price Williams Compared to everything else I’ve mentioned, you’ve probably heard the least about The Sweet East. Regardless of your interest level, you will undoubtedly enjoy seeing this ridiculously fun movie since it never takes itself too seriously. An innovative and enduring film that is shot in 16mm, it guides viewers through a chaotic and sarcastic tour of contemporary America. And even if this trippy coming-of-age odyssey can feel a little jumbled and messy at times, the magnificent and outrageous ensemble hold it all together. If you enjoy filmmakers Richard Linklater and Sean Baker, this one will be right up your alley. MARMALADE (2024) Synopsis: Follows an inmate as he narrates the colorful tale of a romantic bank heist to his cunning cellmate while plotting his escape to reunite with the alluring love of his life. Starring: Joe Keery, Camila Morrone, and Aldis Hodge Director: Keir O'Donnell With a quirky and twisted storyline reminiscent of Bonnie and Clyde , Marmalade is undoubtedly a wild and entertaining journey. It's a bizarre yet eccentric heist tale that captivates spectators with its romance, humor, thrills, and over-the-top performances, but it is especially worth watching for its unconventional characters and compelling final act, which cleverly ties everything together in twisty ways. It may even pleasantly surprise you with its unexpected depth and heart, and when I had the opportunity to speak with writer/director Keir O'Donnell earlier this year (check it out HERE ), he seemed to have had a blast bringing this story to life. BLEEDING LOVE (2024) Synopsis: A father takes his estranged daughter on a road trip in an effort to get her out of trouble. Along the way, they meet all types of strangers as their strained relationship is put to the test. Starring: Ewan McGregor and Clara McGregor Director: Emma Westenberg Bleeding Love is by no means groundbreaking, but I did find it to be a quite powerful tale of addiction, atonement, and forgiveness. In this sincere account of a father and daughter attempting to mend their relationship, Ewan McGregor is paired with his real-life daughter Clara McGregor, and their performances are beautiful and compelling. They truly give this story a poignant, searing honesty. Although the narrative of this bittersweet road-trip drama may be straightforward, I can assure you that it will tug at your heartstrings. Plus, there is a lovely sing-along to Leona Lewis’ “Bleeding Love.”

Previous December 31, 2024 Next A BITESIZE CHAT WITH PERCY JACKSON CAST Walker Scobell, Aryan Simhadri, and Leah Jeffries are here to talk about the upcoming Disney+ series Percy Jackson and the Olympians and the process of bringing Rick Riordan's iconic novel to the screen. Make sure to check out Percy Jackson and the Olympians on Disney+. Interview conducted on December 7th, 2023 by Nick van Dinther. Photo Credits: Walt Disney Studios

Previous October 22, 2025 Next A BITESIZE CHAT WITH JEFFREY WEISSMAN This year marks the 40th Anniversary of Back to the Future , and with it being Back to the Future Day, Nick had a chance to chat with Jeffrey Weissman about this franchise milestone. Although he didn't appear in the first film, he took over for Crispin Glover as George McFly in Part II, and he details how that came to be, talks about working with Michael J. Fox, and even shares some unseen behind the scenes material from the second film. Make sure to check out all the 40th Anniversary events for Back to the Future , including a limited theatrical return. Interview conducted on October 7th, 2025 by Nick van Dinther.

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.