SILO: SEASON ONE Starring: Rebecca Ferguson, Common, Tim Robbins, David Oyelowo, Rashida Jones, Chinaza Uche, Iain Glen, Harriet Walter, Ferdinand Kingsley, Rick Gomez, and Will Patton Creator: Graham Yost NICK The first couple episodes of Silo intrigued me, but didn’t quite grab me; however, with the third episode, I was hooked. I’ve never read the book series it’s based on, so the mystery of it all had me on the edge of my seat thanks to some terrific world-building and the methodical pacing. Rebecca Ferguson is engaging as the lead, while the supporting cast around her (shout out to Common and the always reliable Will Patton) are used carefully and deliberately to move the story along as it lays the groundwork for what looks to be a charged second season. I can’t wait. QUENTIN Normally, I’m not a fan of shows that make you sit through a set-up season to get to the real story. That said, while Silo is definitely that, it held my interest throughout. It’s a lot of excellent world-building wrapped around a murder conspiracy (the set-up you have to sit through), but the broader questions about the silo (the real story) keep you engaged even if the ongoing investigation is a little lackluster. Then, the finale kinda resets the starting point for what potentially could be a great sci-fi series. I will say, though, given the slow-burn nature, it works better as a binge watch. AMARÚ Silo ’s dystopian themes have been beaten to death this century, and that commonplace conceit gives the show a slow and unfocused start. However, a distinct narrative nuance and a strong ensemble piques one’s interest just enough to stick around until the story picks up. When it does, it’s directly connected to the amount of time Rebecca Ferguson is on screen. She’s a force whose strength, skill, and savvy are put on full display to push the show through an intriguing mystery with each increasingly thrilling episode.

Previous Next As 2025 comes to a close, we have reached the end of our Bitesize Top Five Century Series. Our final list is a ranking of all the Best Picture winners within that time and for the first time we are releasing our entire ranking from beginning to end, in order. How did we decide this? As always, each writer ranks his or her top 15 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. SPOTLIGHT You ever watch a movie that you didn’t want to end? That is Spotlight for me. When I watched it for the first time, it represented everything that is the epitome of why we watch film: excellent performances (Mark Ruffalo has got to win an Oscar at some point, right?) coming together as a cohesive ensemble, a heart-pounding story that is all the more engrossing due to being a real-life tale, and stellar direction from Tom McCarthy that keeps the film moving at a compelling pace. But, most of all, when a film so deftly tackles corrupt institutions that are kept in power by the comfortable complacency of others, you can’t help but feel a fire growing in your soul with each bourgeoning scene. - Amarú 4. GLADIATOR No matter how long you spend thinking about the Roman Empire, there's a good chance Gladiator is the reason it pops in your head. Starring Russell Crowe at the height of his powers (in a performance that earned him a well deserved Best Actor Oscar) and Joaquin Phoenix in a star-making turn (that was robbed for a Best Supporting Actor Oscar), this historical epic not only set the standard for future films of the genre, it remains outmatched. Gladiator is so revered, in fact, that it managed a sequel 24 years later with a worldwide box office that just barely missed topping the original. Now that's some staying power. - Nick 3. NO COUNTRY FOR OLD MEN No Country for Old Men is one of those masterpieces that's almost impossible to put into words, although I certainly will try. Arguably the best film the Coen Brothers have made, this movie is a masterclass in tension building, keeping the film exciting even with its slow pace and methodical backbone that takes the neo-western genre into interesting territories by exploring the contradicting ideas of destiny and circumstance. Everyone's talked in spades about the iconic turn from Javier Bardem as Anton Chigurh, for which he correctly won an Oscar, but not enough is said about how much Josh Brolin brings to this film. For nearly two decades, No Country for Old Men has been analyzed, rewatched, and admired for its filmmaking, its writing, and its themes. I don't see that slowing down. - Adriano 2. THE LORD OF THE RINGS: THE RETURN OF THE KING I only saw the Lord of the Rings trilogy within the past few years, and I watched all three in one sitting. They transformed my perspective on fantasy, which I had previously found somewhat impenetrable due to the plethora of characters and locations with names I’d never remember, by showing that fantasy storytelling can be detailed yet incredibly exciting and emotionally engaging. In particular, The Return of the King is unmatched in terms of pure spectacle, with special effects that not only stand up to the most accomplished films of today, but surpass them in almost every conceivable aspect. The battle scenes are breathtaking in their sheer scale and intensity, with some of the most impressive and immersive production design ever, featuring loveable characters who we see embark on their climactic final journey. Winning all 11 Oscars it was nominated for at the 76th Academy Awards, The Return of the King is truly a singular cinematic achievement. - Katie 1. THE DEPARTED A few days ago, my son asked for an “older movie" recommendation. He was watching Godfather II for the first time that night (I know, let’s all take a breath together), so I suggested anything directed by Martin Scorsese starring his favorite lead, Leonardo DiCaprio… “How about 2006 Best Picture winner, The Departed ?!,” he asked. Perfect choice because this banger is ranked numero uno on my list of Best Picture winners of this century. The criminally stacked cast puts together performances of a lifetime in the rough-and-tumble Bostonian world of cops and Irish-American gangsters, while its gritty approach will tickle all your emotional fancies and punch you in the face with a truly kick-ass story. What else could you want in a film?! - Preston HONORABLE MENTIONS 6. PARASITE 7. OPPENHEIMER 8. EVERYTHING EVERYWHERE ALL AT ONCE 9. MOONLIGHT 10. A BEAUTIFUL MIND 11. THE HURT LOCKER 12. THE SHAPE OF WATER 13. 12 YEARS A SLAVE 14. ARGO 15. CODA 16. BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) 17. CHICAGO 18. MILLION DOLLAR BABY 19. THE KING'S SPEECH 20. SLUMDOG MILLIONAIRE 21. THE ARTIST 22. NOMADLAND 23. CRASH 24. GREEN BOOK

Previous Next September 19, 2024 WRITTEN BY: NICK The film industry is still feeling the effects of the pandemic and especially the SAG-AFTRA strike, so I wasn't sure how "back" we were going to be with the Toronto International Film Festival (TIFF) this year, but we are so back. With this being my third consecutive year covering TIFF, it will always be my pinnacle of film festivals. Whether it's the energy of the city or the many genres it offers in each slate, I just love it. This year, in particular, I felt spoiled. We got almost all the major festival titles, and a healthy amount of screenings to boot. Next year will be the 50th anniversary of the festival, and I can only imagine what they'll have in store, but until then, here's a ranking of the 40 films I had a chance to see this go ‘round… Also, in case you missed it, check out how Adriano ranked the 50 movies he saw at the festival HERE . 40. MILLERS IN MARRIAGE Upon completion of Millers in Marriage , I'm still not sure what the point of it all was. My best guess is a portrait of people trying to handle unhappy marriages. If that is indeed the case, the execution is piss poor. I'm talking “Hallmark movie on the high end, generic commercial on the low end” quality. The fact this film got the cast it did - likely attributed to director Edward Burns - is astonishing because every single one of them deserves better than this joke of a film. Also, light every copy of that piano score on fire. 39. REZ BALL For a film about basketball, it’s the sporting elements that fail Rez Ball . The in-game action lacks gritty intensity, so they come across more like a glossy High School Musical scene over something with the weight the story requires. In fact, the film as a whole feels very Disney Channel Original Movie, from the performances to the look and feel. When it delves into the Navajo culture and its people, the film is at its strongest, but those moments happen too infrequently. The focus here is basketball, and when you can’t equal your contemporaries, let alone surpass them on that front, that’s a problem. 38. THE SHROUDS Although I respect the man's work, I haven't been enamoured with a David Cronenberg film in a minute. Sadly, The Shrouds does nothing to change that. This is my least favourite offering of his in a while, in fact. A dialogue-driven film with poor and unnatural dialogue, the interesting story tidbits Cronenberg offers are quickly extinguished by underwhelming performances (Vincent Cassel has painfully low energy). Even the body horror and copious amounts of nudity feel disingenuous. I’ve seen many films about grief, but The Shrouds is one of the few to make me grieve my decision to watch it. 37. CAN I GET A WITNESS? I’m not being hyperbolic when I say the concept of Can I Get a Witness? is excellent. A live-action animated hybrid about a world devoid of electricity, where people are only allowed to live until the age of 50, is fascinating. Unfortunately, the film completely wastes that concept by delivering a meandering plot without anything interesting to say until halfway through the film, at which point I'd already checked out. Even the animation is sorely underused, making me question the decision to include it. An idea this cool shouldn’t lead to a film so boring. It’s easily one of my bigger disappointments at the festival. 36. THE CUT There are some serious real-life dangers to cutting weight, so I was looking forward to seeing The Cut dive into the concept. Well… it doesn't. Instead, you get a relatively generic boxing film with very little boxing. That may not be the worst thing, though, as the limited in-ring sequences don’t offer much in the way of excitement, nor does Orlando Bloom's unnamed character’s backstory. Bloom does his best with the material given (as does John Turturro), but it’s never particularly engaging and is instantly forgettable. Films like The Fire Inside show that you can still make a great boxing film. This isn’t one of them. 35. OH, CANADA I keep giving modern Paul Schrader films a chance, but it seems his work just isn't for me. In fact, Oh, Canada may just be my least favourite yet. Although it's nice to see Richard Gere back on screen, and he's quite good in the film, Schrader has crafted something fairly boring, and every extra flourish he attempts in order to enhance things falls flat. Whether it's playing with timelines or colours (the black & white shots lack any vibrancy), I found myself waiting for the end, and even that wasn't very satisfying. I think Schrader may have run out of chances. 34. ELTON JOHN: NEVER TOO LATE There is so much to mine from the storied career of Elton John, so, surely, it would make for a good documentary, right? Not really. Not quite a career retrospective, and not quite an in-depth look at the lead up to his retirement, Never Too Late can't decide which story to tell. Scattershot bits and pieces of John's career (including flashbacks told through animation) are mixed with a rushed lead-up into his final touring performance to create a film that fails to satisfy on all fronts. This should’ve acted as a farewell to an iconic career, instead it’s just a big disappointment. 33. THE QUIET ONES The Quiet Ones , based on the largest robbery in Denmark's history, handles the heist elements with the level of high-octane, immersiveness that you'd hope. It has a realism similar to last year's How to Blow Up a Pipeline . Unlike that film, however, director Frederik Louis Hviid fails to get you invested in either the characters or the planning process, which makes for an opening hour without much tension. It also doesn't help matters that the motivations for the heist itself are murky at best. Unfortunately, one scene does not make a film, but it IS enough to bump up the rating a bit. 32. RIFF RAFF Riff Raff is a little all over the place. It gets off to a weak start, then settles in nicely once the characters' motivations are clear. Then it goes off the rails. It's very hit or miss in everything from the jokes to the performances. After hearing Bill Murray was a late replacement for his character, I can only wonder how the film would've originally been because he is the clear highlight. He chews on his fun, villainous role while other characters have a tendency to become annoying. For an indie comedy with this cast, I'm sure you could do worse, but you can certainly do better. 31. PIECE BY PIECE I love big swings, and the idea of doing an entire documentary in LEGO form is a BIG swing. Unfortunately, Piece by Piece never does anything to justify the gimmick. Much like the music in the film, the LEGO aspect feels like it's only there to distract from the fact that this is a VERY surface-level biopic. Anything serious or contentious is barely mentioned in passing, so it all comes across as a little shallow. I’m sure Pharrell Williams has an interesting story to tell; hopefully, he’s ready to tell it someday. 30. SHARP CORNER Although it’s nice to see Ben Foster playing against type, Sharp Corner leaves much to be desired. You can tell it was originally a short story because its thin premise is stretched out to a near two-hour runtime filled with tons of build-up that culminates in a rushed and disappointing final ten minutes. Foster does well to keep you interested up to that point, but when all is said and done, I just felt deflated. The story either needed to be adapted into a short film or a really expanded and fleshed-out mini-series. As currently constituted, it misses the mark. 29. NUTCRACKERS You've seen this story before: the reluctant father figure who comes into guardianship only to re-evaluate his life. In fact, story aside, Nutcrackers feels like a film from a bygone era, the mid ‘90s to early 2000s boom of family films. What gives it a slight edge are the child performers (all real-life siblings). They are quite good, bringing an authenticity that helps the film land emotionally. It's incredibly predictable and fairly unoriginal, but at the very least, it's a feel-good film that'll bring a smile to your face. You could do worse. 28. RELAY Relay feels straight out of the 90s. Like, I can picture reruns of this film playing on TBS growing up. That's not a knock, either. The movie is specifically meant as an homage, so it succeeds on that front. It's the required intensity that is absent. That's not Riz Ahmed’s and Lily James’ fault, both of whom provide solid performances and great chemistry. It's the pacing and overall feel of the film; it's just a little on the forgettable side. With the rerun era essentially obsolete, Relay won't have the same chance as its predecessors, but perhaps it finds a home on streaming. 27. BABYGIRL No doubt a very sexually driven film, there's something missing from Babygirl . Both Nicole Kidman and Harris Dickinson bring great performances to the screen – as does the glue of the film, Antonio Banderas – so it's not the cast. So the problem must be in the direction. Whether it's the cheesy, too-on-the-nose musical montages or the hints of unintentional camp, there are flaws that really took me out of the film. I will give credit where it's due, though: director Halina Reijn handles the sexuality with a maturity few would, and she deserves to be commended for that. 26. BIRD The circumstances and events surrounding Bailey's (Nykiya Adams) upbringing is far from your typical coming-of-age story. In spite of that, something about Bird feels typical, and my investment levels were diminished because of the story’s focus on too many threads. Also, not that there are any issues with the cast, per se, but the film takes a big upturn whenever Barry Keoghan is on screen. He brings a magnetism unlike anyone else in the film, and more of his character (and the father/daughter story) would have been welcome. Still a worthwhile watch, but with a more deliberate focus, things could have been much improved. 25. RUMOURS As far as political satires go, Rumours is among my favourite, conceptually speaking. The directing team of Guy Maddin, Evan Johnson, and Galen Johnson fill the opening hour with clever jokes and visual gags, all of which is brought to life via a very solid ensemble, highlighted by Roy Dupuis (pure coincidence he plays the Canadian Prime Minister). However, after that first hour, things run out of steam as the clever intricacies are replaced by a more ridiculous tone. Although this worked for a film like Triangle of Sadness (which, coincidentally, also features Zlatko Buric), it works against things here. 24. PRESENCE Presence is one of Steven Soderbergh's most ambitious films in years. Relying on a first-person shooting approach and continuous single shots could have felt gimmicky, but the director deserves credit for making sure it never does. Unfortunately, for a film this style to work best, you need crisp dialogue, and what we get ranges from natural (almost exclusively Chris Sullivan's lines) to inadvertently laughable. It certainly hurts the film, but if you can get past it, there IS an interesting story to be found. I respect what Soderbergh attempted, but it’s not without its challenges. That said, it will stick with me for a while. 23. DEAD MAIL Dead Mail is exactly what you should be looking for from an indie horror. It’s got a grainy shooting style that gives a grimy feel on top of an engaging story to work with. The reason it works as well as it does, however, is the traumatized performance from John Fleck. Although Trent (Fleck) begins with sympathetic motivations, he soon turns sinister, and his descent into madness is the highlight of the film. Sure, you could shave a little off the runtime (there's a bit of a drag in the middle), so Dead Mail feels destined for Shudder. I expect it’ll do well there. 22. MR. K With the major names both in front of and behind the camera at this year's TIFF, it would be easy to miss Mr. K , but you shouldn't. This surreal tale of a man trapped in a hotel feels as if it were perfectly made for Crispin Glover and no one else. Director Tallulah H. Schwab and cinematographer Frank Griebe have brought forth one of the most visually appealing films of this year's festival, with an interesting story to match. With shades of The Brothers Grimm , this pseudo-fairytale is bound to surprise people with its overall wonder. 21. QUEER Luca Guadagnino's latest film, Queer , is a trip in every sense of the word. A film that had me hooked and lost me completely on multiple occasions, this is definitely not what I expected. Gone are the awards hopes for Daniel Craig – he's EXCELLENT here, it's just not that kind of film – since Guadagnino's decision to abandon the more traditional love story he sets up does more harm than good. As the story goes on, what was once cohesive becomes confusing and unfocused. Maybe the film is better on rewatch, knowing the story path, but that should never be part of the watch requirements. 20. EMILIA PÉREZ There will deservedly be a lot of awards chatter for the women of Emilia Pérez , particularly Zoe Saldana and Karla Sofía Gascón. The film itself, on the other hand, is kind of flawed. The musical numbers are very traditional (for the most part), and they don't really do anything to greatly enhance the story. In fact, I think you could watch a version of Pérez with all of them cut out and still be able to follow everything. That can only be viewed as a flaw. So, although you get the aforementioned performances and a twisty story, temper your expectations. 19. THE LAST SHOWGIRL It’s clear The Last Showgirl was a labour of love for all involved, but for Pamela Anderson, in particular. Never accused of being a tremendous actress, she's great in a role that feels as if it was tailor-made for her. It's likely the best way to cap off her unique career too. She's also joined by a great supporting cast, so the acting is not the problem here. The issue is the story structure. Everything is a bit messy, and a few of the supporting characters could have used more fleshing out. Also, for a story about finality, the end should've landed better. 18. SKETCH Director Seth Worley describes Sketch as “ Inside Out meets Jurassic Park, ” which is a pretty accurate description, although I may sprinkle a little Honey, I Shrunk the Kids and Jumanji in there too. Either way, this is a fun children’s adventure with delightful visual effects, an entertaining cast of youngsters (they can get a tad annoying at times, but that just means it’s authentic), and some solid messaging. I could see this becoming required viewing for families looking for help during the necessary but difficult conversations with their children, and for that alone, I think the film succeeds. 17. SHELL Truth be told, I've never been a fan of Elisabeth Moss. I just don't usually connect with her roles. With Shell , that's not the case. Moss gives a performance that is both vulnerable and empowering while also balancing the film’s humour. That balance is needed because the humour permeates the entire film and is the main reason Shell is as enjoyable as it is. Things get progressively more ridiculous as the plot builds, and it finds itself on shaky footing for a bit, but because the entire cast buys in, you will as well. Based on my audience, this is sure to be a crowd pleaser. 16. PAYING FOR IT Truth be told, Paying for It was only on my radar due to the involvement of Andrea Werhun ( Modern Whore , Last Night at the Strip Club ). Having said that, I am thoroughly impressed with how good it turned out to be. The story is an unflinching portrait of the evolution of relationships as told by Sonny (a fictionalized version of director Sook-Yin Lee) and Chester (Dan Beirne bursting at the seams with Rick Moranis energy). There's comedy, there's cringe, and there's a lot to be said about what we'll do in our search for love (or its alternatives). A true hidden gem. 15. HERETIC I believe your enjoyment of Heretic will be closely linked with how religious you happen to be. Right off the top, the film unabashedly dissects religion as it attempts to challenge or affect not just the characters, but the viewer. Had this been the entire movie, my rating would have gone up a reel. Also, Hugh Grant is devilishly good, which is why the opening act works as well as it does. It’s when the film devolves into more traditional horror that it doesn't work quite as well. It’s still a very good, enjoyable film, but it can’t quite keep its early momentum. 14. FLOW Flow has a lot to say without uttering a single word. This wonderfully animated film follows the journey of Cat and other wildlife as they navigate their way through the flooding of their home. Although there are no human characters, the themes of class, family, and isolation are all prevalent, which leaves a lot of aspects to relate to. Even if you take away that depth, you’re still left with a very cute film about animals (with tons of personality) coming together in the face of disaster. Just like the best animated films, this one is bound to appeal to children and adults alike. 13. THE LUCKIEST MAN IN AMERICA If you're yet to be convinced that Paul Walter Hauser deserves more leading roles, The Luckiest Man in America is here to change your mind. This throwback true story of Michael Larson (Hauser) and the Press Your Luck scandal peeks behind the curtain of the events to keep the uninitiated wondering what will happen next. Director Samir Oliveros transports you back to the 80s with a tight story and vibrant colour palette that makes you feel like you are in the studio audience. No bells and whistles, just an honest approach to the story, which is precisely what Luckiest Man calls for. 12. EDEN The true story of Eden takes a little while to get going, but once it does (coincidentally once Ana de Armas shows up?), it settles into quite an engaging picture. The film isn’t what you’d expect from director Ron Howard, but that’s part of its intrigue. The cast (again, highlighted by de Armas) understand their assignments, preventing the material from becoming too campy. There are laughs (I’d have liked a touch more comedy, though), but they’re well balanced in a story about humanity and survival. I, for one, would welcome Howard going this direction more often. 11. THE FIRE INSIDE The Fire Inside is a typical sports biopic (albeit with above average cinematography) until it becomes so much more. It’s about the struggle female athletes have to manage alongside their male counterparts. It’s about self worth. It’s about another great supporting turn from Brian Tyree Henry (it’s about time someone lets this man lead his own film). That said, it’s newcomer Ryan Destiny who truly takes center stage, telling Claressa Shields’ story with authenticity and poise. It seems director Rachel Morrison’s career change was a good call (originally a cinematographer) because The Fire Inside surpassed all expectations. 10. THE ORDER The Order is a feature that works because it checks all the filmmaking boxes. Nothing is flashy, it’s all just really solid. From the simple-yet-affecting score to the airtight performances, there is a real lived-in quality to this film. The action sequences are deliberate (though a little too limited), while the actions and motivations of “The Order” feel quite timely in our current climate. It’s not a horror film, but the implications of the events are quite terrifying, which only adds to the authenticity of everything. The Order is a no-nonsense police procedural, and it’s among the better ones we’ve seen in quite some time. 9. SATURDAY NIGHT All credit to director Jason Reitman for even attempting to bring the mayhem of SNL ‘s first episode to the big screen, a feat he accomplishes quite well. However, due to the subject’s nature, things get a little lost in the chaos. At times, you're left wondering who is who, or just getting caught up in the franticness of it all. It's a lot of moving pieces, and though Reitman does a good job wrangling them, it can come at the expense of the comedy. Saturday Night is a nice time capsule of the beginning of the legendary institution, but it doesn’t achieve greatness. 8. THE ASSESSMENT The Assessment is so much weirder than I ever could have imagined... in a good way, though. This science fiction story reminded me of Biosphere with its unexpected story turns and surprising humour. The trio of Elizabeth Olsen, Alicia Vikander, and Himesh Patel completely buy in to the unique concept, and it's the reason the film works as well as it does. Patel, in particular, is the glue that holds this thing together, and it’s one of his strongest performances to date. Fair warning: the less you know about this one going in, the better. 7. ANORA I'm not sure exactly what I was expecting Anora to be, but it certainly wasn't what I got. Director Sean Baker offers up a film a lot more zany than I'd assumed going in, and it works in the film’s favour. Mikey Madison (Ani) is bound to receive overwhelming critical acclaim for her lead performance, but it's the way Baker surrounds her with rich side characters that really fills out the story. There is a bit of a pacing issue in the middle that slows momentum, but the final 20 minutes (including a poignant closing shot) refreshes any good will that was lost. 6. THE PIANO LESSON What you have here is another great addition to the August Wilson feature film list. As with many play adaptations, The Piano Lesson is a showcase of actors acting. John David Washington is the most charismatic he’s been since Ballers , Danielle Deadwyler should hear her name come Oscar time, and Ray Fisher gives what may be his strongest performance, period. It’s all put together by strong direction from Malcolm Washington (man, that’s a talented family), who does a good job getting that “film feel” within the confines of a single space. Let the August Wilson adaptations continue! 5. THE WILD ROBOT Sure, the trailers made The Wild Robot look visually stunning, but they did nothing for me story-wise. I certainly wasn't expecting it to be the best DreamWorks Animation effort in 20 years, but that's exactly what it is. The breathtaking animation pairs wonderfully with Lupita Nyong’o's vocal performance as Roz. Part Baymax, part droid, Roz is one of the richer animated characters we've seen in some time. Much like DreamWorks' Shrek franchise, she is surrounded with instantly memorable and funny side characters. For a film about coming together and forming unlikely friendships, this is crucial to make the story work, and it does so in spades. 4. THE SUBSTANCE The Substance is the latest film from director David Cronen... Psych! This feature is directed by Coralie Fargeat, and although there certainly is a Cronenberg feel at times, she makes it all her own. Exploring themes of mortality, self-confidence, and desperation, Fargeat tells a story that’s surprisingly relatable. Demi Moore is given a chance to strut her stuff for the first time in years, while Margaret Qualley lives up to exactly what her character needed to be. As for the body horror aspects, this still would have been a good movie without it, but it takes things to another level in the most wonderful ways. 3. THE LIFE OF CHUCK When you hear the names Mike Flanagan and Stephen King, you’re likely expecting a horror film, but you’d be mistaken with The Life of Chuck . Among Flanagan’s best works, I’m not sure I’ve seen a film look at death and mortality through as beautiful a lens as this film does. I could break down the technical specs (no complaints) and the performances (once again, no complaints), but it’s really about the purity of the film. There are multiple dance numbers, dark comedy, and apocalyptic dread, but Flanagan never loses sight of the hopeful message he wants to send. I wish all films were this sincere. 2. BETTER MAN I’ve long been a fan of Robbie Williams, so perhaps I enjoyed Better Man as much as I did because of my familiarity with everything. But, honestly, I just think it’s a great film. Whether it’s the stylistic decisions that realistically shouldn’t work but do, or the spectacle of all the musical numbers, everything succeeds because of Robbie. A supremely creative (and narcissistic) showman, the man shies away from nothing to tell his story, demons and all. It makes for a refreshing and relatable examination. I was thrilled, I was moved, and as Robbie would have wanted, I was entertained. Give this one a shot. 1. CONCLAVE I'm not particularly religious, so the concept of the conclave was foreign to me. That said, director Edward Berger instantly sucked me into this process and the tension surrounding the decision. This is high-concept drama told by highly acclaimed actors. The always reliable Ralph Fiennes, in particular, gives one of the best performances of his career, but it's the sum of Conclave 's parts that truly makes it shine. Whether it's the sound design and score, the beautiful yet simplistic visuals, or the overall tone of the film, it all amounts to a well-oiled machine I could have spent another hour with.

YELLOWJACKETS: SEASON THREE Starring: Melanie Lynskey, Christina Ricci, Tawny Cypress, Lauren Ambrose, Simone Kessell, Sophie Thatcher, Sophie Nélisse, Jasmin Savoy Brown, Courtney Eaton, Samantha Hanratty, Liv Hewson, Steven Krueger, Warren Kole, Sarah Desjardins, Kevin Alves, Elijah Wood, and Hilary Swank Creators: Ashley Lyle and Bart Nickerson PAIGE The third season of Yellowjackets is even darker, bloodier, and more intense than its last. With top tier performances from the ensemble and compelling plots, the series has moved beyond mere survival to dive deeper into the lasting impact the horrifying events have had on these characters and the past demons that are now catching up to haunt them. This season blends psychological horror with deep emotional insight, making it the most mind-bending and daring outing thus far. Although I still crave more answers, I am eating up this mystery. KATIE The third season of Yellowjackets is fantastic, but also the most inconsistent so far. Some of the writing decisions were questionable, and it felt like the writers forgot about some plots and character dynamics from previous seasons and were somewhat improvising. Nonetheless, it still boasts one of the strongest casts on TV, with my personal favourites being Sophie Thatcher and Melanie Lynskey. The story is still compelling too, with genuine scares and gore, intense emotional drama, and an anarchic sense of humour. I’m hoping that next season will address the inconsistencies, but it's still undeniably entertaining and has me looking forward to what comes next. Check out our reviews for Season Two HERE .

Previous Next Awards Season is upon us, including the Grammys, which take place on February 4th. Between that and everyone jamming out to “I'm Just Ken,” we figured what better time to look at our favourite original songs from movies. So, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Original Songs. It doesn’t matter if it was performed on screen by a character or simply played over the closing credits… if it was written specifically for a film, it’s eligible. Each writer ranks his or her top 15 songs 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. “DON'T YOU (FORGET ABOUT ME)” – SIMPLE MINDS (THE BREAKFAST CLUB) No director has tapped into the teenage way of life quite like John Hughes. His film The Breakfast Club is considered one of the ultimate coming-of-age films, and Simple Minds' hit song "DON'T YOU (FORGET ABOUT ME) " perfectly captures the message of each character’s journey and time spent in detention together. It truly encompasses the bond these misfits have developed through the memorable experience they go through. Though it bookends the movie, it’s more perfectly placed at the end of the film, with Bender (Judd Nelson) raising his fist in the air, creating one of film’s most iconic endings. - Paige 4. “DANGER ZONE” – KENNY LOGGINS (TOP GUN) Can you think of a better opening sequence to a film than Top Gun ?! I’d bet you can’t because the magnificent combination of Navy servicemen doing God’s work on the surface of a notoriously dangerous aircraft carrier while “DANGER ZONE ” is blaring is inarguably one of the best. In fact, it was so good that it was also used in the very similar opening scene to the film’s sequel, Top Gun: Maverick . Kenny Loggins logs (pun intended) another 80s hit by working with the same writer and composer of the Academy Award-winning “Take My Breath Away” (Tom Whitlock and Giorgio Moroder). So, give a little kick, a fist pump, and a salute to the song that helped this soundtrack go 9x platinum! - Preston 3. “PURE IMAGINATION” – GENE WILDER (WILLY WONKA & THE CHOCOLATE FACTORY) The Academy Award-nominated song “PURE IMAGINATION ” captures everything that is magical, enchanting, but also unorthodox about Willy Wonka & the Chocolate Factory . Written by British musicians Anthony Newley and Leslie Bricusse, the song recalls one of the most iconic scenes in the film: the first glimpse inside the fantastical chocolate factory. Gene Wilder’s spectacular performance also gives insight into the mind of the eccentric chocolatier that ranges from manic to endearing. The song is, at least for many, nostalgic and emotional, and has been covered, remixed, and sampled countless times, most recently in last year’s Wonka , which features a re-touched version sung by Timothée Chalamet. However, this instantly recognisable classic will always be Wilder’s, and it remains one of his most beloved performances. - Katie 2. “STAYIN’ ALIVE” – THE BEE GEES (SATURDAY NIGHT FEVER) The 70s hit “STAYIN' ALIVE " firmly cemented The Bee Gees as The Kings of Disco, and for good reason. The song is expertly crafted - from the meticulously layered production to the infectious bassline to that earworm of a hook - it just hits every damn time. As an original song produced for Saturday Night Fever , it backs an iconic intro sequence that features John Travolta strutting along to that unmistakable beat. It’s easy to see how this original song boogied its way on up to our number two spot. It’s fun, it’s groovy, and just like Tony Manero (Travolta), it’s cool as hell. - Caleb 1. LOSE YOURSELF – EMINEM (8 MILE) I don't want to be too presumptuous, but I’m willing to bet there aren't many people who haven't had Eminem's "LOSE YOURSELF ” stuck in their head at some point in time. With a catchy hook and an emotional core guiding it, this Oscar-winning song from the 2008 semi-autobiographical drama 8 Mile is just about the best representation of a movie you can get. Eminem's lyrics are powerful, and they contribute to an energetic beat that has made the song a 13x platinum hit. As someone who's not really a rap fan, I can easily recite this song from memory at a moment's notice. Like Mom’s spaghetti, it's just that good. - Adriano HONORABLE MENTIONS EYE OF THE TIGER - SURVIVOR (ROCKY III) FIGHT THE POWER - PUBLIC ENEMY (DO THE RIGHT THING) FOOTLOOSE - KENNY LOGGINS (FOOTLOOSE) PURPLE RAIN - PRINCE (PURPLE RAIN) THE POWER OF LOVE - HUEY LEWIS AND THE NEWS (BACK TO THE FUTURE) Photo Credits: Photo 1, 5 - Universal Pictures; Photo 2, 3, 4 - Paramount Pictures

Previous Next March 8, 2024 WRITTEN BY: THE BITESIZE CREW Presenting our 3rd annual Bitesize Awards! You know the drill… Similar to the Bitesize Top Five, each writer ranked their Top 10 selections for each awards category. Those lists were then weighted on a reverse point system. After all the points were tallied up, we had our nominations. Finally, we voted on each award. So, here we go! BREAKOUT ARTIST *WINNER* JACOB ELORDI ( PRISCILLA/SALTBURN ) As we entered 2023, Jacob Elordi was simply the asshole from Euphoria to most people, myself included. However, as with many of Euphoria ’s cast members this year, Elordi took the proverbial next step in his career, most famously by flavoring the bathwater in Saltburn , but also as a quietly nuanced Elvis Presley in Priscilla . He stole scenes from powerhouse and award-winning and -nominated actors, begged comparisons to Austin Butler’s Oscar-nominated portrayal of The King, clearly set his career path on a different trajectory, and made people remember his name. To me, that’s the definition of a breakthrough. - Quentin AYO EDEBIRI ( BOTTOMS/THEATER CAMP/THE SWEET EAST ) Ayo Edebiri had one hell of a year in 2023! She took Hollywood by storm with not one, not two, but five standout movie performances, and she made an impression in every film she appeared in last year, regardless of the size of the role. She took her comedic chops to a new level by leading the raunchy queer teen comedy Bottoms , delivered a stellar voiceover performance as April O’Neil in the animated movie TMNT: Mutant Mayhem , and gave outstanding supporting performances in Theater Camp, The Sweet East, and Spider-Man: Across the Spider-Verse . And even though she's mostly only receiving the accolades for her portrayal of Sydney in FX's The Bear , I have an inkling that since she is growing into one of Hollywood's biggest stars, the accolades will follow her into her film career. - Paige CAILEE SPAENY ( PRISCILLA ) I was mostly unfamiliar with Cailee Spaeny before I saw her lead performance in this year’s Priscilla . Although I wasn’t amongst our crew’s champions of the film itself, what is absolutely clear is that her performance, alongside another breakthrough artist in Jacob Elordi, is that Ms. Spaeny is set to blow up the film scene in the years to come. She is already set to star in one of my most anticipated films of the first half of 2024 in Civil War , and also is starring in Alien: Romulus , scheduled to be released later this year. I expect great things from her, and I am excited to cheer her on as I see her grow to her full potential as an actress. - Preston COLMAN DOMINGO ( RUSTIN/THE COLOR PURPLE ) Colman Domingo has been acting successfully for longer than any of the other nominees in this category have even been alive, brightening the countless films he’s appeared in, no matter how small the role. If there was ever anyone who deserved a bigger breakthrough at a better time, it’s Colman. Just look at this 2023: Transformers: Rise of the Beasts, Ruby Gillman: Teenage Kraken, Fear the Walking Dead, The Color Purple, Rustin, and 2023-film-festival-darling-but-yet-to-be released Sing Sing . Two serviceable voice roles, a long-running TV series, two Oscar-nominated movies (one of which he received), and quite possibly an Oscar-win next year. That is the exact definition of a break… through. - Amarú DOMINIC SESSA ( THE HOLDOVERS ) Aside from the amazing cinematography, I think one of the things that made The Holdovers feel so authentically of the 1970s is the genius casting, specifically Dominic Sessa. Sessa doesn’t rely on typical teenage tropes or angst, but makes the character his own. His performance is full of heart and mischief, displaying the confidence of a far more experienced actor as opposed to an actor in his first feature film, and he has fantastic chemistry with all of his co-stars, including two current Oscar nominees. Acting opposite Paul Giamatti in a screen debut is an incredible achievement, and I am excited to see where his career takes him. - Katie HIDDEN GEM *WINNER* BIOSPHERE From the outset, Biosphere was seemingly created to be a hidden gem. From its quiet drop at Toronto International Film Festival (seriously, there was almost zero information about it) to its quiet day-and-date release almost a year later, it’s one of those movies that succeeds precisely because no one knows what to expect going in. To be fair, I get it. Had this movie been heavily publicized, it wouldn’t work. Without revealing too much, just know that this movie is a hilariously poignant exploration of masculinity, friendship, survival, partnership, and identity, all of which is driven by powerhouse performances by Mark Duplass and (especially) Sterling K. Brown. - Quentin THE CAINE MUTINY COURT-MARTIAL It’s a crime that more people haven’t seen The Caine Mutiny Court-Martial . I know people always say “they don’t make movies like this anymore,” but they REALLY do not make movies like this anymore. This tense courtroom drama is as classic Hollywood as it gets, and its brilliant execution is a testament to the talents of the late director, William Friedkin. He doesn’t rely on flashy cinematography, quick cuts, or an overpowering score because the expertly paced narrative and incredible performances are enough to keep your eyes firmly glued to the screen. If you haven’t seen Court-Martial yet, then you should definitely fix that. - Caleb HOW TO BLOW UP A PIPELINE Way back in 2022, there was a little-known film at Toronto International Film Festival that started gaining traction and buzz amongst the attendees. So much so, that I actually adjusted my schedule so I could see it for myself. I’m so thrilled I did. How to Blow Up a Pipeline is a film best suited for the big screen, as the tension it exudes throughout permeates the theatre. There is a realism to both the direction and the performances that make it feel like you’re watching a documentary, and at times, as if you’re part of the grand plan itself. - Nick PERFECT DAYS Look, am I surprised that a Japanese drama where a pretty large chunk of the film is a man cleaning public bathrooms wasn't a box-office hit? Of course not. Will I still recommend it to everyone within earshot? Absolutely. Perfect Days is a film that's all about the beauty of life. How mundane our lives can be is what makes it beautiful and how we choose to find joy is unique to everyone; Perfect Days sheds light on that, accompanied by a silent yet brilliantly effective performance from Kōji Yakusho. I like to believe Perfect Days found its niche audience, but I hope one day, that audience grows. - Adriano POLITE SOCIETY Polite Society is a one-two punch that deserves to have more people see it. Director Nida Manzoor manages to masterfully blend all sorts of genres, most notably comedy and martial arts, into a fresh and sharp coming-of-age story about two loving sisters with conflicting priorities, played by Priya Kansara and Ritu Arya. Their gleaming chemistry makes this spunky and charismatic film genuinely kick ass. If you’re looking for a playfully charming movie that is light-hearted, then Polite Society is the hidden gem for you to watch. - Paige BEST MUSIC *WINNER* GUARDIANS OF THE GALAXY VOL. 3 The bar was set so high with the soundtracks for the first two Guardians of the Galaxy movies that I feel like people maybe slept on the music in Vol. 3 . Much like its predecessors, Vol. 3' s soundtrack features banger after banger from the likes of Heart, Bruce Springsteen, Radiohead, The Beastie Boys, and Florence + the Machine, among others. Most importantly though, the songs’ placement in the film and the tone-setting these tunes achieve is true master-crafting by director James Gunn, especially the final musical moment of the film, which had me holding back tears. Gunn's departure may signal the end of this franchise, but at least we’ll always have three killer albums. - Nick OPPENHEIMER Ludwig Göransson has crept up to become one of my favourite modern-day composers, and while Oppenheimer may not be his best score in my opinion (I still listen to Black Panther 's score at the gym), it might be his biggest accomplishment. Throughout Oppenheimer , Göransson's score blares in nearly every single moment, elevating what could've been dull political and scientific discussions to something more compelling. The number of earworms in this score are too many to count, and Göransson's blend of classical and contemporary music helps bring certain aspects of J. Robert Oppenheimer to life during the film. Even separated from the film, it's just an excellent score to listen to on its own, as well. - Adriano TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM By the time the guitar strums from A Tribe Called Quest’s “Can I Kick It?” hit halfway through Mutant Mayhem , I had already wanted to give a round of applause to the film’s music supervisor. M.O.P., 4 Non Blondes, De La Soul, Natasha Bedingfield, Gucci Mane, M.O.P. again just for emphasis (“Ante Up” will never not be hype), Ol’ Dirty Bastard, and a pitch-perfect reference to Vanilla Ice’s “Ninja Rap”? Just relive my childhood, why don’t you? Top that with Blackstreet’s “No Diggity” serenading you through an expertly animated action montage, and there’s rarely a minute in which you aren’t resisting the urge to get up out of your seat and groove. I didn’t even mention the perfect Trent Reznor and Atticus Ross futuristic, techno-hip-hop score. C'MON SON!!! - Amarú AIR You might not immediately recognize the artists or the songs on the soundtrack of Air , but I promise you will do an 80s-style shoulder sway and finger snap with almost every song while thinking, “Oh, I remember this song!” Whether it be the chorus to Night Ranger’s “Sister Christian,” the opening guitar pop of Violent Femmes’ “Blister in the Sun,” Cindy Lauper’s generational talent displayed in “Time After Time,” or REO Speedwagon’s “Can’t Fight This Feeling,” the Air soundtrack is simply the best soundtrack of the entire year. By the way, I highly recommend watching the original music videos to each song as you revisit them; you won’t be sorry. - Preston BARBIE One of the best features of Greta Gerwig's blockbuster Barbie is the soundtrack, which brilliantly captures the whimsical yet thought-provoking tone of the movie. It includes a variety of upbeat, glossy songs by notable artists such as Dua Lipa and HAIM, as well as the powerhouse rendition of "I'm Just Ken" by Ryan Gosling. It also features songs with far more somber themes, such as Billie Eilish's "What Was I Made For?" All in all, the mood that the songs create transports us from Barbie Land to the real world in a way that makes us want to cry and dance right out of our seats. Barbie's paradoxical yet realistic journey is brilliantly captured on the film's soundtrack. - Paige IN ALL SERIOUSNESS AWARD *WINNER* THE IRON CLAW I don’t care what generation you belong to, what culture you grew up in, or if you’re even a wrestling fan…it’s almost impossible to watch The Iron Claw and not feel something deep in your spirit. There’s tragedy, then there is tragedy. Then there is the real-life TRAGEDY of the Von Erichs. Director Sean Durkin expertly avoided making trauma-porn out of their harrowing tale, and how could he not when you have top-tier performances from Zac Efron, Holt McCallany, Harris Dickinson, and Jeremy Allen White. I may never watch this film again (it’s A LOT), but I damn sure will never forget it. - Amarú ANATOMY OF A FALL Anatomy of a Fall is a riveting courtroom drama that is both subtle and brilliant all at once, featuring sharp dialogue and a thought-provoking story that will keep you guessing throughout. You may wonder, why so serious? Even though it is lengthy, this mystery is full of gripping performances and nuanced turns that, without co-writer and director Justine Triet's guidance, wouldn’t have worked as well as it did. She lets the film's real beauty come through, allowing the audience to determine what actually happened, leaving them to think about it long after it ends. - Paige OPPENHEIMER Director Christopher Nolan has stated that he thinks J. Robert Oppenheimer was “the most important person who ever lived,” and after seeing Oppenheimer , it’s pretty hard to disagree with him. This larger-than-life drama combines a staggering ensemble cast with an intricately structured, endlessly fascinating narrative. It adeptly explores not only the creation of the atomic bomb, but also the psychological fallout it had on the mind of its morally ambiguous inventor. The end result is one of the most successful dramatic films of our generation, and one that fully convinced us of its profound importance. - Caleb PAST LIVES Ever since I saw its world premiere at Sundance, I knew Past Lives was special. A film about the paths we didn't take and how we justify our actions in the pursuit of love and happiness while trying not to think about what could've been? It rarely gets more human than that. Between its gut-wrenching screenplay, paired with outstanding performances from Greta Lee, Teo Yoo, and John Magaro, Past Lives offers a beautiful experience that's as worthwhile as it is bittersweet. It still absolutely blows my mind that this is Celine Song's debut film. - Adriano PRISCILLA Much like The Iron Claw , another film that just didn’t get its due last year is Priscilla . This is, for my money, the best film Sofia Coppola has directed. The story of a young woman’s growth from naive fan girl to realizing the darkest sides of her relationship with Elvis Presley, the object of her young fandom, brings up questions of love, grooming, and turmoil. Coppola approaches the film in a manner that makes you feel the way Cailey Spaeny’s Priscilla Presley feels. It’s an underappreciated aspect of the film, but one that truly puts it over the top. - Nick LAUGH OUT LOUD AWARD *WINNER* POOR THINGS What else can I say about Poor Things that hasn’t already been said through the multitude of discussions, nominations, praise, and awards that it has justly deserved? As critics, we must wrestle with the notion of remaining vigilantly committed to our candid commentary while balancing what might be desired by our curious devotees. The balance of which can be rightly ignored in this particular case. Poor Things is a masterpiece that stretches our collective imagination, crosses genres, and breaks the limits of the plethora of content created before it. There is a legitimate case for it to win almost every category outside of “Best Animated,” so here is one more tip of the cap to its brilliance. - Preston AMERICAN FICTION American Fiction is funny as fuck, Sterling K. Brown is hilarious as shit, Tracie Ellis Ross is laugh-out-loud funny, and Jeffrey Wright’s dry wit, expertly parried by Erika Alexander’s sarcasm, puts it all together. This hilarious ensemble encapsulates how black people, who live an utterly complicated life in this country, will always laugh. Laugh when we smile. Laugh when we cry. Laugh when we yell. Laugh when we roast the shit out of each other, especially family. How else would we survive the fucked up shit we deal with on the daily? - Amarú BARBIE Much like with animated films, for Barbie to be a runaway success, it needed to find a way to appeal to more than just its target demographic. As a guy in his 30s, this movie was certainly not made for me, but I sure enjoyed it, anyway. The comedy is mainly driven by Ryan Gosling’s ridiculous performance as man-child Ken, but Margot Robbie, Michael Cera, and the rest of the ensemble cast bring the laughs as well. Whether it’s the jokes, musical numbers, or fish-out-of-water scenarios, the hilarious fun is there, and it’s a big reason that Barbie made more than a billion dollars. - Nick DREAM SCENARIO I have not witnessed anything elicit as much laughter from a cinema audience as Nicolas Cage’s perfectly timed fart in Dream Scenario . The film satirises cancel culture and the nature of social media fame by capitalising on Nicolas Cage’s memefied status, balancing real and surreal elements for a hilarious effect. Continuing a trend of impressive performances in indie genre films, Cage is perfect as a boring, awkward professor, displaying his impressive range and bringing a pitiful innocence that is essential to the character. Dream Scenario is often excruciatingly awkward and cringe-worthy, so it is obviously my favourite comedy of last year. - Katie THE HOLDOVERS The Holdovers is such a cozy and feel-good film that it is destined to become a holiday classic. The characters' chemistry with one another throughout the movie is the reason why the plot genuinely feels like a homey hug. Honestly, I could spend hours watching Paul Giamatti’s and Dominic Sessa’s characters bicker back and forth with each other. Every scene is filled with either great comedic bits or heartwarming yet heartbreaking moments, and director Alexander Payne does a fantastic job of capturing the essence of a 1970s Massachusetts boarding school. Considering all of that, the humor and performances make me believe it could be my favorite Payne film to date. - Paige ADRENALINE AWARD *WINNER* JOHN WICK: CHAPTER FOUR The John Wick franchise is easily one of my favourite action franchises from the past decade. I loved the first three movies so, so much, yet I'm delighted to say that not only did John Wick: Chapter 4 exceed its predecessors, it exceeded them by a lot. In just about every single department, Chapter 4 is an astonishing big-screen experience. Watching John Wick hack and shoot through foes with ease in elongated sequences has never been more impressive to watch. Some of the techniques used for these sequences are things I can honestly describe as jaw-dropping. I truly can't see any reason why this isn't the new standard for action films going forward. - Adriano MISSION IMPOSSIBLE: DEAD RECKONING I refuse to stop preaching about how Tom Cruise is one of our last true Hollywood stars, and this feels no less true with Mission Impossible: Dead Reckoning . The film is brimming with jaw-dropping action sequences, suspense, adrenaline-fuelled car chases, and some of the most daredevil stunts courtesy of Mr. Cruise yet. Unlike many action films of late, Dead Reckoning looks convincingly real and refreshingly free of CGI, emphasising the impact of the fast-paced thrills, and it will have any viewer on the edge of their seat from the outset all the way through to the end. - Katie SISU At this point, I feel like I’m becoming “that guy” when it comes to Sisu , the dude who just won’t shut up about it. I’m genuinely not sure what else I can say to sing its praises. That said, if you missed my write up in our Hidden Gems article HERE , my ranking out of Toronto International Film Festival HERE , or my review HERE , I’ll tell you that Sisu is an action-packed hybrid of Captain America and Inglourious Basterds . It’s gory, exhilarating, funny, full of “oh shit!!” moments, and thoroughly satisfying, especially as it disposes of Nazi after Nazi. You want adrenaline in movie form? This is it. - Quentin EXTRACTION 2 Extraction 2 may not quite fill the shoes of its kick-ass predecessor, but what it lacks in storytelling, it more than makes up for with kinetic, action-packed mayhem. The cinematography is on point, and with Chris Hemsworth leading the way, the Extraction franchise comes the closest of its competitors to John Wick , the standard bearer for high-stakes, gun-wielding fight thrillers. If we are to further sub-categorize it to just straight-to-streaming releases, it can be firmly placed as one of the two best action films of the year! - Preston GUARDIANS OF THE GALAXY VOL. 3 There are action movies that have action for action’s sake. There are comic-book movies that rely on pure name recognition to carry it through their runtime. Then there is James Gunn delivering the most James Gunn-y, action-filled, comic-book threequel there is. Guardians Vol. 3 is the epitome of the sum of its amazing parts, and the action sequences flourish because of it. That hallway scene wouldn’t hit as hard if not for the character work, humor, and heart Gunn infused into everything leading up to it. It all influences the action, and the action feeds right back into the story in a seamless cycle of immaculately executed action epicness. - Amarú NIGHTMARE AWARD *WINNER* TALK TO ME A24’s horror flick Talk to Me was not only a surprise smash hit at the box office, but it proved to be the best horror flick of the year! With inventive imagery and shocking gore, directors Danny and Michael Philippou’s offering was able to elevate this year's crop of horror films and truly rattle you to the core with how unsettling and chilling it is. This gem is a stylish and disturbing tale of grief and loss that will keep you on edge of your seat from start to finish; it's that bloody good. - Paige GODZILLA MINUS ONE I’ve been a fan of Godzilla my entire life, and with Minus One , director Takashi Yamazaki finally delivered what I’ve been wanting for years: a horror movie. I’m cool with the big guy fighting some monkeys now and then, but the original 1954 film, Gojira , was intended to be a sobering reflection on the horrors of war. This film wisely revisits those roots, providing audiences with a monster movie that’s as terrifying as it is exciting. After years with the American, anti-hero take on the character, it’s refreshing to see Godzilla portrayed as a villain again. Minus One presents everyone’s favorite monster as an unrelenting force of nature, and it just feels right. - Caleb KNOCK AT THE CABIN Maybe it’s because it came out so early in the year, or maybe it’s because director M. Night Shyamalan has lost some goodwill because of the disappointment stemming from some of his more recent efforts; either way, Knock at the Cabin is a damn good movie that most people didn’t talk about. Shyamalan shows an expert ability to create tension throughout this relatively grounded story - by his standards, anyway - and unlike many of his other projects, Cabin doesn’t need to rely on a grand twist. Instead, it delves deep into the dark things that we, as humans, are willing to do for the betterment of others and the sacrifices needed to achieve that. - Nick NO ONE WILL SAVE YOU Brian Duffield’ s sci-fi horror No One Will Save You is both an homage to classic horror and sci-fi cinema, as well as its own original success with unique elements. From the outset, the film establishes a palpable tension that refuses to let up, driven by a powerhouse performance from Kaitlyn Dever that is almost devoid of dialogue. She portrays panicked fear and genuine terror through her physicality and impossibly wide eyes. Plus, the lack of dialogue does not come across as a gimmick, but only intensifies Dever’s performance, the eerie sound design, and constant dread. The film stands out as a soon-to-be genre favourite. - Katie THE PASSENGER As a person who has been less than enamored with recent horror-thriller offerings, especially theatrical releases, I tend to find joy in smaller, straight-to-streaming, indie releases. The Passenger is further proof that this is the pool to be wading in. Although simple in its setup, it thrives on fantastic performances from Johnny Berchtold and the perpetually underrated Kyle Gallner (seriously, Hollywood, wake up on this guy already), leaving just enough questions about motives and the characters’ character to keep the viewer thoroughly engaged. - Quentin BEST ENSEMBLE *WINNER* OPPENHEIMER I remember when I first saw the promo picture for Oppenheimer , with every single known name in Hollywood presented like a supersized version of Hollywood Squares . I had two thoughts: damn, that is a very white cast (I mean, it is, right?); and damn, how is Christopher Nolan going to fit all those people in one film, even at three hours long? Well, he did that shit in spades. Whether on screen for three hours or three minutes, not a soul was wasted in their screen time, and every single instance of the Leo-pointing meme was rewarded with a familiar face giving more than just a reason to Leo-point. - Amarú POOR THINGS The best thing about the Poor Things ensemble is just how unique all the performances are. Emma Stone, Willem Dafoe, and Mark Ruffalo embody roles unlike anything they’ve ever played before, and it’s a joy to watch these talented performers step outside of their comfort zones. Ruffalo is gloriously wacky, Dafoe gives his most sympathetic, complex performance yet, and Stone absolutely shines as Bella Baxter, flawlessly portraying a whole lifetime's worth of development in a single film. Name-wise, it may not be as stacked as some other 2023 films, but as far as sheer talent goes, Poor Things earns its nom with ease. - Caleb BARBIE Everyone say it with me... "Hi, Barbie!" Barbie is a film that lives in its own universe, following its own rules and logic. With that, the actors must come equipped to adapt to the pink world they now live in, and thankfully, every single actor is in on the joke. Everyone brings a wacky sensibility to the film, which helps with the elevated reality presented. Much has been said about Margot Robbie, Ryan Gosling, and America Ferrera already, but there also are comedic highs from of some of the smaller roles, like Michael Cera, Issa Rae, and Kingsley Ben-Adir, and even some smaller dramatic moments are made better by actors like Ariana Greenblatt and Rhea Perlman. - Adriano THE IRON CLAW Every year there is a film that the Oscars wholeheartedly snub. This year, without a doubt, it’s The Iron Claw . Sitting high on my personal Top Five of the year, the big success of this film is its cast. Yes, it’s well documented that many believe Zac Efron deserved a Best Actor nomination for his performance as Kevin Von Erich, but the whole cast is terrific. Jeremy Allen White gives potentially the most authentic showing of the bunch as Kerry Von Erich, while Holt McCallany excels as the vicious Von Erich patriarch. Plus, Harris Dickinson, Stanley Simons, Lily James, and Maura Tierney? A true ensemble that comes together to make a beautiful film. - Nick KILLERS OF THE FLOWER MOON Killers of the Flower Moon wasn’t my favorite film of 2023, but the ensemble cast was easily one of my top three of the year. Leonardo DiCaprio, Robert De Niro, Brendan Fraser, Jesse Plemons, John Lithgow, and newcomer Lily Gladstone…each name stands alone, but in concert with each other they represent a sum that is infinitely better than its individual parts. That’s quite a sum! Each actor does what they do best, but together they bring the requisite gravitas to a slow-moving film whose story necessitates worldwide attention. There are few films of this year (or ever) that carry as much titanic cohesion. - Preston BEST ANIMATED PICTURE *WINNER* SPIDER-MAN: ACROSS THE SPIDER-VERSE At the risk of sounding hyperbolic, Spider-Man: Across the Spider-Verse is one of the most influential animated films since... well, Spider-Man: Into the Spider-Verse . The way the film incorporates several dozen animation styles in just one still frame is a feat in itself, but Across the Spider-Verse is more than a technical marvel. It also has a smart, funny, emotionally gratifying, and relatable story that only complements the animation. I can't even possibly begin to imagine where this is all leading with Beyond the Spider-Verse , but I sure can't wait to witness it. - Adriano SUZUME I had very high hopes for Suzume , and I am pleased to say that it did not disappoint. From exciting, fantastical set pieces and gorgeous expanses of the sky to a simple, delicious-looking plate of noodles, the animation is simply stunning. Directly referencing the 2011 earthquake in Japan, the film combines fairy-tale storytelling with a sense of anxiety and dread to explore emotional themes of grief and trauma, but it’s complemented by the charming coming-of-age narrative and fun sense of mischievous energy. Suzume exemplifies the unique capabilities of animation when it comes to addressing difficult topics in a meaningful, healing way. - Katie TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM In a year with seemingly fewer animated films being released than usual, I am so glad that Teenage Mutant Ninja Turtles: Mutant Mayhem was one of them. It’s so successful at providing a fresh face to a story and characters that, at their core, are timeless, but have been the victim of so many renditions that they needed a face-lift. Writer/producers Seth Rogen and Evan Goldberg provide exactly that with a tubular soundtrack, excellent voice acting, and inspired animation. I grew up with the Ninja Turtles and spent many a day working on my sweet bo staff skills (because Donatello is the best). After watching this latest take on the quartet, I may just have to pick up the bo once more…sorry, honey. - Preston THE BOY AND THE HERON In an otherwise uneven year for animation, it was refreshing to be graced with another ambitious Studio Ghibli epic. With The Boy and the Heron , director Hayao Miyazaki presents one of his most daringly original worlds yet, complete with compelling symbolism, disturbing imagery, and some very, very evil parakeets. While the purposefully perplexing narrative may leave a few viewers frustrated, there’s no denying that this story comes from a place of pure, unbridled creativity. The Boy and the Heron is a gorgeously animated 2D adventure, and I'm glad it's getting the respect it deserves. - Caleb NIMONA I consider Nimona to be 2023’s second best animated movie because of how heartfelt, hilarious, and heroically its themes shine. It’s a shame that this visual and storytelling spectacle wasn’t granted a big screen release. Riz Ahmed and Chloë Grace Moretz’s chemistry is palpable, the action is absolutely kinetic, and it’s one of the few Spider-Verse -influenced movies whose animation feels like it evolved Spider-Verse ’s visual stylings instead of emulating them. I cannot express how much love pours out of every aspect of this film, and if you have access to a Netflix account somewhere, this should, without a doubt, be your next (re)watch. - Amarú BEST DIRECTOR *WINNER* YORGOS LANTHIMOS - POOR THINGS Poor Things is a strange yet magnificent tour de force, and that's all thanks to filmmaker Yorgos Lanthimos' amazing style. It's wildly inventive and bizarrely over the top. It was a difficult assignment to attempt adapting Alasdair Gray's book, but what Yorgos managed to achieve is sincerely mesmerizing. Let’s face it…a director's job is to helm the ship of the entire production, and he did just that, from its powerhouse performances to the beautiful steampunk production design to the magnificent costumes. This film truly is the full package and one of the most stunning films of the year. Bravo, Yorgos. Bravo! - Paige ALEXANDER PAYNE - THE HOLDOVERS Filmmaker Alexander Payne isn’t usually my jam. I often feel like his films are unrepresentative of my life and the people I know, but even amongst the films I didn’t love, I could never deny his skill in capturing the intricate pain and hope within his characters. This is still the case in The Holdovers , which I loved, by the way. I could feel the cold of the Massachusetts air, I could smell the remnants of painted brick hallways within the halls of Barton Academy, and I could taste the food coming out of Mary’s kitchen, all due to Payne’s ability to capture the human experience…even if it isn’t always my human experience. - Amarú CHRISTOPHER NOLAN - OPPENHEIMER Let’s be clear about what Christopher Nolan did with Oppenheimer : He transformed a highly scientific and historical subject into a hauntingly masterful biopic that has quark star-like gravitational pull. His success lies in the world he was able to reconstruct, where the focus on details allows the viewer to marvel at the terrible awesomeness that is being created while simultaneously shouldering the responsibility alongside the imperfect genius who created it. He is in a class of his own when it comes to having the ability to illuminate a broad audience about scientifically charged historical events, all while setting new marks for awe-inspiring cinematic wonder. - Preston SEAN DURKIN - THE IRON CLAW Being a great director is about getting the most out of your crew, and with The Iron Claw , director Sean Durkin effectively utilizes every shred of talent at his disposal. This rousing sports tragedy is an excellently put together piece of work, complete with a devastating narrative, outstanding visual storytelling, and some of the best performances of the entire year. Zac Efron delivers my favourite performance of 2023, and it couldn’t have been achieved without Durkin behind the camera. His ability to guide the talent towards greatness deserves to be celebrated. After The Iron Claw , there’s no denying that Sean Durkin is a director we should be keeping our eyes on. - Caleb SOFIA COPPOLA - PRISCILLA For as long as I can remember, Sofia Coppola has been one of my favourite filmmakers. And as much as I love Marie Antoinette , I believe she has reached a high point as a director with Priscilla . From the moment we first meet the 14-year-old Priscilla Beaulieu, Coppola had me in the palm of her hand, flawlessly and almost miraculously displaying the flame of first love with an eerie, fairytale-like essence. Where Coppola's filmmaking gets really impressive, though, is when she shows that flame goes out, and the film's tone becomes so different yet so captivating. If Priscilla is the new bar for an already outstanding filmmaker, I can't wait to see what she does next (as if that wasn’t already the case). - Adriano BEST SUPPORTING ACTRESS *WINNER* DA'VINE JOY RANDOLPH - THE HOLDOVERS The Holdovers has an undeniable secret weapon in Da'Vine Joy Randolph. While Paul Giamatti and Dominic Sessa are hilariously butting heads, Randolph's character, Mary Lamb, is experiencing the loneliness of the situation in her own way. Grieving the loss of her son and going through her first Christmas without him, Randolph plays the character's highs and lows with authority and authenticity, being a fierce voice of reason during one scene before breaking down in the next scene as she can't bear the pain any more. Randolph's a true force in The Holdovers , and I haven't gotten the performance out of my head since seeing it. - Adriano JULIANNE MOORE - MAY DECEMBER I was absolutely thrilled by Julianne Moore in Todd Hayne’s darkly comedic melodrama May December. Her layered, pitch-perfect performance portrays a woman who is deeply self-conscious, but also neurotic, conceited, quietly controlling, and underhandedly ruthless. She persistently forces the viewer to question her intentions, moral character, and whether there is more to her than initially meets the eye. Her performance is vital to the success of a film that boldly tackles difficult subject matters whilst implicating the viewer themselves in their participation in this uncomfortable story. - Katie RACHEL MCADAMS - ARE YOU THERE GOD? IT’S ME MARGARET Rachel McAdams is often forgotten about amongst the best actresses of this generation. That is until the next time you see her on screen, and in Are You There God? It’s Me Margaret, her vulnerable and supportive performance is another example of seeing her and saying “oh shit, yea, she is damn good.” Oftentimes, in coming-of-age films, B-plots are either shortchanged or a waste of time, but the way in which McAdams is so authentically human as the connective tissue between the generations of the titular Margaret’s family is the reason this movie can show that coming of age doesn’t stop when you come of age. - Amarú ROSAMUND PIKE - SALTBURN To be honest, Rosamund Pike's performance in Saltburn could be considered equally as iconic as her role in Gone Girl . As Lady Elspeth Catton, Pike demonstrates her versatility as an actress, showing that she is capable of playing characters that are more than just dark and twisted. She proves that she also is a master of razor-sharp humor. If any other actress had played this part, some of the lines Pike had to deliver might have been played off as silly jokes, but in her hands, they are daggers. She has established herself as one of the most gifted actresses in the business, and her ability to fully inhabit complicated, nuanced roles is on full display here. - Paige TEYONAH PARRIS - THEY CLONED TYRONE Going into They Cloned Tyrone , I admit, Teyonah Parris was just a name on the poster. Honestly, it was a name I knew, but I didn’t know why I knew it. After watching the movie, it’s not a mistake I’ll make again. She absolutely owns the screen and steals every scene as Yo-Yo, including upstaging a best-in-years performance from Jamie Foxx. She is so unrecognizable and immersed in the character that, four months later, I didn’t even realize it was the same actress playing Monica Rambeau in The Marvels . Or that I had previously seen her in If Beale Street Could Talk . She’s fucking good, man. - Quentin BEST SUPPORTING ACTOR *WINNER* MARK RUFFALO - POOR THINGS I’ll be honest, Mark Ruffalo is another one of those amazing actors ***cough Denzel cough*** that sometimes just does variations of Mark Ruffalo, and that is always more than enough to say he’s given a top tier performance in any given year. However, there is absolutely no trace of Ruffalo in his portrayal of Duncan Wedderburn. He’s outlandish, bombastic, dramatic, hilarious, and everything we have seen from Ruffalo, but to the most entertaining degree. He tapped into another level here to disappear into one of the most ridiculously devilish characters you’ll see in a comedy, and he’s a major reason that the comedy of Poor Things works. - Amarú RYAN GOSLING - BARBIE I may be unnecessarily incriminating myself by admitting that I wasn’t the biggest fan of Barbie . Similarly, I will needlessly profess my love of everything Ryan Gosling and how his performance in Barbie has cemented himself amongst the likes of Brad Pitt, Arnold Schwarzenegger, Matt Damon, and Leonardo DiCaprio as someone whose movies I will automatically commit to watching, no matter the personal cost. His talent knows no bounds, and a lot of what was trying to be communicated in this movie could only be done against the backdrop of what he brought to the table. - Preston CHARLES MELTON - MAY DECEMBER Although director Todd Haynes consistently gets excellent performances out of his actors, it was unexpected that Charles Melton's performance in May December , which also starred powerhouses Natalie Portman and Julianne Moore, was the one that most caught the audience's attention. Melton's portrayal of someone who was groomed throughout his entire relationship is so sad that it allowed him to eclipse his two amazing co-stars. His performance is unforgettable, whether it's the moment with his son on the rooftop or when he breaks down in tears as he watches his kids graduate from high school, he’s just that good. - Paige DOMINIC SESSA - THE HOLDOVERS Going forward, Dominic Sessa might have set himself up for failure because he’s so, so great in The Holdovers , yet it’s his ONLY professional acting credit. It’s a high bar to set right out of the gate. I mean, his first time on screen is opposite Paul Giamatti (a strong contender to win Best Actor) and Da’Vine Joy Randolph (a lock to win Best Supporting Actress, if there ever was one), yet he manages to hold his own, delivering an angsty, angry teen performance that doesn’t stumble into cliché, unrelatability, or, for lack of a better word, CW-ness. The more you think about what Sessa does here, the more remarkable it is. - Quentin GLENN HOWERTON - BLACKBERRY “ I’m from Waterloo where the vampires hang out! ” There was maybe no bigger surprise in 2023 than the performance of Glenn Howerton in BlackBerry . Known mainly for his comedic stylings in It’s Always Sunny in Philadelphia , Howerton delivers a powerful performance as Canadian businessman Jim Balsillie. He is just the right level of over-the-top to be believable as you watch him through the rise and fall of BlackBerry. What could have been a relatively forgettable film is elevated because of the way Howerton brings Balsillie to life. This should definitely be the first step of Howerton’s path towards more serious roles. - Nick BEST ACTRESS *WINNER* EMMA STONE - POOR THINGS In a moment of surreal madness, I saw the world premiere of Poor Things at Venice Film Festival. Even then, free from the shackles of influence, preconceived notions, and hype trains, I knew I had just witnessed one of the best performances of the year. Emma Stone, who has always been a very-good-but-not-quite-great actress to me (extra emphasis on the “to me ” part), was a goddamn revelation. What she was able to do in portraying, essentially, the full evolution of woman…from put upon expectations to understanding self-worth to telling the patriarchy to go fuck itself with tact…is astonishing, hilarious, and profound. Give her all the trophies. - Quentin CAILEE SPAENY - PRISCILLA Although Cailee Spaeny has had some roles early in her young career, Priscilla must be viewed as her top showing thus far. Not only does Spaeny seamlessly step into the shoes of Priscilla Presley, but she does so while acting opposite rising star Jacob Elordi’s dark and excellent take on the King of Rock ’n Roll, Elvis Presley. Be it the innocent naivety of Priscilla’s youth as she adapts to an entirely new life, or the strength of becoming her own woman in eventually taking her life back, it all works thanks to Spaeny’s honest portrayal. At only 25 years old, her career will be filled with opportunities to come, and her performance in Priscilla will be a big reason why. - Nick CAREY MULLIGAN - MAESTRO Maestro may be Bradley Cooper’s magnum opus, but it can only be so because of the performance by Carey Mulligan. Mulligan’s subtle and nuanced portrayal of Leonard Berstein’s wife, Felicia Montealegre, quite simply outshines all other aspects of a film that has been highly praised, deservedly. Her ability to shine in a film with so much chaotic energy, with her believable and delicate balance of seeming impassivity and a truly magnanimous emotional tolerance, is one of the great acting accomplishments of the year. In my eyes, she only narrowly misses the top spot behind Emma Stone. - Preston LILY GLADSTONE - KILLERS OF THE FLOWER MOON When watching Killers of the Flower Moon , it wasn't the heavyweight cast consisting of the likes of Leonardo DiCaprio and Robert De Niro that gripped me, but Lily Gladstone’s formidable performance and commanding presence. Gladstone’s performance is understated and quietly complex, but her subtle facial expressions and deeply expressive eyes communicate everything she wants us to know among an ensemble that is much more exaggerated in its characterisations. Lily Gladstone’s performance has stuck with me since I first saw the film, and I think it will for a long time. - Katie SANDRA HÜLLER - ANATOMY OF A FALL It takes a certain kind of power to hold a film in the palm of your hand in a way that could break the film if done poorly, and Sandra Hüller walks that tightrope flawlessly in Anatomy of a Fall . Hüller plays Sandra Voyter, a writer on trial as she's accused of killing her husband. Neither the characters in the film nor the audience knows if she's guilty or not, and by looking at Hüller's actions, there’s absolutely no way of figuring it out. Her stoicism is not only perfect for the role, but it also makes way for some towering moments of pure excellence during the scenes when her character is at a breaking point. A truly ingenious performance. - Adriano BEST ACTOR *WINNER* ZAC EFRON - THE IRON CLAW Zac Efron’s portrayal of Kevin Von Erich in The Iron Claw is truly a career-defining role, and hands down his best performance to date. Through the role, Efron proved that he’s not only a pretty boy but also has the emotional range and ability to tackle a dramatic role like this. With his stunning physical makeover, flawless interpretation of a real-life person, and aching performance, Efron proved he is someone who should be taken seriously in the industry. I’m baffled that he didn’t receive any awards love this season, but don’t worry, Zac…at least Bitesize recognized your talent this year! - Paige NICOLAS CAGE - DREAM SCENARIO C’mon, guys…who else was going to write about Nic Cage here? Say what you will about my potential (probable?) bias, but in Dream Scenario , Cage plays a role that he has been inadvertently groomed to play. The Memefication of Cage over the years offered a well of knowledge and introspective character development that few people could mine for the character of Paul Matthews. Cage, who could have easily avoided all the personal introspection, decides to lean into his life experiences, delivering a performance that is real, hilarious, awkward, haunting, unrecognizable, and most importantly, relatable. - Quentin PAUL GIAMATTI - THE HOLDOVERS As a longtime admirer of Paul Giamatti, it’s nice to see The Holdovers finally granting him some much-needed appreciation. His performance as Paul Hunam is endlessly endearing, elevating the film every time he graces the screen. Giamatti is undeniably hilarious in the role, but it’s the pathos he brings to the character that really sold me on his performance. With his quick wit, his lazy eye, and a heart of gold, it’s damn near impossible not to fall for this lovably cantankerous professor. This is certainly a performance we won’t be forgetting anytime soon. - Caleb CILLIAN MURPHY - OPPENHEIMER Cillian Murphy gives a career-defining performance in Oppenheimer , one of the biggest films of the year and 2023’s most Oscar-nominated film. Murphy captures the enigmatic figure of Oppenheimer, bringing a physicality to the role that effortlessly communicates what version of the infamous physicist he is embodying. Director Christopher Nolan is no stranger to utilising IMAX cameras, but this time uses them to achieve a far more intimate effect, spending a lot of time in close-up on Murphy’s face, whose haunting eyes and subtle facial expressions convey the internal emotional battle of a man responsible for some of history’s most unthinkable events. - Katie COLMAN DOMINGO - RUSTIN As the resident The Walking Dead fan of our outlet, I have been following Colman Domingo’s work for quite some time, and the man seemingly gets better with every performance. Rustin is his first real shot at headlining a film, which he passes with flying colours. As Bayard Rustin, he is engaging during every minute of screen time as he preaches the message of positivity and perseverance in the face of the opposition. It is a layered performance that is both deeply heartfelt and powerful, all thanks to Colman. With another tremendous showing in Sing, Sing coming later this year, expect to hear his name next award season as well. - Nick BEST PICTURE *WINNER* POOR THINGS Yorgos Lanthimos’ Poor Things is an extraordinary film that promises to stun every viewer. Taking place in an otherworldly, gothic, and surreal universe, Poor Things is like a raunchy, subversive adaptation of Frankenstein , centering on the formative experiences of a reborn woman named Bella Baxter, played by an enthralling and committed Emma Stone. It unflinchingly explores themes of patriarchal control, the suppression of female sexuality, and societal pressures on women, whilst being extremely funny. The in-movie universe is meticulously crafted and totally unique, captured beautifully by the distinctive cinematography, and undoubtedly worthy of a Best Picture Winner. - Katie AMERICAN FICTION I saw nearly 40 films at Toronto International Film Festival in 2023, and none topped American Fiction . The story is clever, and the comedy is spot on, with the cast, headlined by the excellent Jeffrey Wright, using both of those aspects to the greatest of their abilities. A big part of the reason things work so well, however, is Cord Jefferson's effort behind the camera. Not only is American Fiction his feature directorial debut, but it’s also a film that has put him on the map. Oh, and as for that apparently contentious ending? chef’s kiss In my opinion, the best film of the year. - Nick THE HOLDOVERS The Holdovers may not have received the play time of its contemporary rivals, but no matter, because it’s still THE best picture of the year. The filmmaking and storytelling are so pure, and stripped of any flashy visual effects or CGI, the film is able to transport you directly into 133 minutes of complete connection. The details matter, and you can rest assured that every little detail is attended to, so you get to focus on the perfectly imperfect humanistic tale presented, one that beautifully mirrors us all so authentically. Wherever present, a categorical win is deserved for everything this film has given. - Preston THE IRON CLAW As a person who grew up watching professional wrestling, I was well aware of the Von Erich tragedies. Even with that knowledge , The Iron Claw managed to stir emotions in me that aren’t easy to tap into. It’s a weird combination of rousing sympathy, with the wrestling scenes hitting the optimistic nostalgic beats before the pending doom kicked me right in the dick with sadness. And I knew that kick was coming! This is a tremendously acted, expertly written film that makes you feel , and while “entertaining” seems the wrong word, it will stick with you long after the credits roll. What more do you need from a Best Picture nominee? - Quentin PRISCILLA Priscilla is one of the best movies I had the pleasure of watching last year. This tragic, coming-of-age romance is bolstered by an amazing score, dreamy cinematography, and two of the year’s strongest performances. Cailee Spaeny perfectly embodies Priscilla’s sincerity and perseverance, while Jacob Elordi delivers an unflinching portrayal of Elvis Presley, capturing not only the icon’s predation, but also his profound loneliness. All these incredible elements are combined perfectly by director Sofia Coppola to create one of the very best films of 2023. I know it didn’t get any love at the Oscars, so I’m extremely happy that it got a nom from us. Priscilla is worth the hype. - Caleb Photo Credits: Photo 1 - Amazon MGM Studios; Photo 2 - IFC Films; Photo 3 - Walt Disney Studios; Photo 4, 7, 14 - A24; Photo 5, 10, 12, 13, 15 - Searchlight Pictures; Photo 6 - Lionsgate; Photo 8 - Universal Pictures; Photo 9 - Sony Pictures Releasing; Photo 11 - Focus Features

Previous Next June 4, 2025 WRITTEN BY: ROBERT There has never been a piece of media I have consumed where I haven’t inserted myself into the shoes of a character and thought about my own choices and reactions compared to those on screen. Who amongst us hasn’t lived that kind of voyeuristic determinism? Similarly, I’m sure we have all looked at a depicted locale and thought, “that’s where I would like to spend a week to reset my mind, body, and soul!” A few key examples of prime vacation destinations from films are always rattling around in my brain, especially during the summer season, so that prompted me to dive a bit deeper and think of the ten spots I would recommend travelling to for some much-needed rest and relaxation. For this exercise, I am looking at the primary filming locations. There might have been additional re-shoots somewhere else, or supplementary fill-ins on a studio lot, but I want to highlight where you could actually visit that most simulates the experience of what you saw on screen. Also, I will indicate the movie in connection to the location because, if you tell people you are going to one of these places without context, they might question your sanity. So, let’s pack a suitcase, call a travel agent, or visit a third-party booking website and see the best places to venture when you need to kick up your feet and leave your world behind for somewhere new. ARAN ISLANDS – AS SEEN IN THE BANSHEES OF INISHERIN Summertime fun doesn’t always have to be about bright sun and gorgeous weather. It can be about removing yourself from the hustle and bustle of modern life and stepping into a place out of time. I don’t think you could get closer to that than a remote Irish island. The appeal lies in the rolling countryside, the Irish cliffs looking out towards the Atlantic as if you are in a James Joyce novel, and the huge swaths of land separating every domicile. If you enjoy a throwback, agrarian type of adventure, there are worse places to be. You might even meet some lifelong animal companions along the way. ST. REGIS BORA BORA – AS SEEN IN COUPLES RETREAT The allure of an island resort where everything is all-inclusive, for you and your travelling group, is the pinnacle of luxury and relaxation. You can use the time to really get in touch with either your friends and family, or perhaps complete strangers if you are devoid of attachment. The St. Regis Bora Bora Resort is ostensibly the prototype when you think about jetting away from the rigors of the day-to-day rat-race to re-discover what you truly want out of life, and you get to do that while enjoying over water bungalows, private beach access, and a cadre of butlers who are arranged to ensure you don’t want for anything. CAPRI – AS SEEN IN ANOTHER SIMPLE FAVOR Generally, if you look to abscond for a brief European respite, Italy is where you will ultimately end up, one way or another. The sheer history and grandiosity represented within the country can be picked up whichever region you find yourself. If you can afford it, the Italian islands are the most breathtaking place to be, like in Capri, located on the Tyrrhenian Sea just south of Naples. I mean, if you must travel by boat underneath a rock face simply to get where you are staying on the coast, you know you are in for a treat. The towns are stylish yet rustic, and the accommodations are world-class, perfect for soaking in sea air and unbeatable Mediterranean climate. If you have a friend who invites you to Capri, no matter the occasion, always say yes. SKOPELOS – AS SEEN IN MAMMA MIA! When the founding of a destination is based around the legend of the Greek God of Wine’s son, you must believe that boozing and lounging are the preeminent activities of the spot, and that is accurate for Skopelos. Considering that there is no airport anywhere on the island, and basically one road that links all the major villages together, you shouldn’t expect to endure endless throngs of tourists despite its wonders. Whether you are frequenting the beaches, boating around the coast, or taking in ancient architecture, you will likely be inspired enough to sing at the top of your lungs, no matter if anyone wants to hear it. THE OCEAN CLUB – AS SEEN IN CASINO ROYALE Stepping out from a beach villa to look directly into the light blue water of the Caribbean… Does that do anything for you? As someone who spent a honeymoon in the Bahamas, I can attest to how time there can re-energize you. At The Ocean Club, they cater to all kinds of travelers: sportsmen, sightseers, those on business holiday, and so on. There are always a myriad of activities happening at the main building, so if you like to socialize and meet new people, you can congregate there. Or you can bask in the quiet of your private sanctuary down the shore. Finally, if needed back on the mainland, a quick flight back to Miami can always be procured at the last minute, so never feel as if you are completely isolated from the world, unless you choose to be. ICELAND – AS SEEN IN THE SECRET LIFE OF WALTER MITTY Expectations are shattered if you are unfamiliar with the region around the volcano Eyjafjallajökull in Iceland. You might expect glacier sheets and freezing weather, but some of the surrounding villages are nestled on verdant expanses of rolling hills. If you are up to hike, you can find yourself witnessing magnificent waterfalls and hot springs, in addition to rocky peaks to scale if you are a climber. The volcano can erupt, though it isn’t life-threatening, so while it can be exciting, it isn’t dangerous. While there, the sprawling views might give you a new perspective on life and what is important. CORTONA – AS SEEN IN UNDER THE TUSCAN SUN You can’t keep a good country down with our second Italian entry, Cortona, a small village in Tuscany. While there, you feel as if you are living history, considering its ownership by the Etruscans, Romans, and the Medici family over time, which you can see represented in the art and architecture. Despite its anachronistic vibe, there is a vibrancy that springs eternal, and the locals are more than friendly, even to outsiders. If you are on a journey of self-discovery, or you just like to gorge on Italian food and wine, Cortona is a summertime gem. POSITANO – AS SEEN IN THE TALENTED MR. RIPLEY Yes, another southern Italian town — you might be detecting a pattern with what the film industry likes to use as a backdrop for depicting wealth, success, and recognized exquisiteness. Formerly a poor fishing village, John Steinbeck wrote that Positano is a “dream place that isn’t quite real when you are there…” It also is part of the Amalfi Coast, which is one of UNESCO’s World Heritage Sites as a significant place of value to humanity. Given how individuals of the arts have visited there seeking inspiration for music and cinema, you could soak its historical renown while sipping world-class limoncello on its fabulous beaches. RAJASTHAN – AS SEEN IN THE BEST EXOTIC MARIGOLD HOTEL If you were told that you were heading for an area translated to “Land of Kings,” you probably would expect some great features. Rajasthan, one of India’s most premier states, has a dynamic range of attractions. From temples to national parks to tiger reserves, the initial vestiges of the region’s offerings date to ancient times, beyond 3000 BCE, though the current iteration wasn’t formed until the mid-20th century after the British occupation. Rajasthan embodies a wide range of geographical biomes, wildlife, and culture, so traveling through it could be like traveling through a few different countries at once. You can take in a lot of color, texture, and fun while traipsing from city to city. MARTHA’S VINEYARD – AS SEEN IN JAWS Everything so far has been about imports, so how about something domestic? You probably have heard of Martha’s Vineyard as a key New England spot for the rich to isolate from commoners, a la Vail in Colorado. However, just because the Kennedy’s frequent it doesn’t mean you shouldn’t consider its value. Tourists flock there, mostly on July 4th weekend, but you can do more than just drink wine and swim. You can take in movies with their prominent film society, enjoy the ramps of their public skate-park, or visit the grave sites of some titans of pop culture, like John Belushi. The island is a hodgepodge of human and animal diversity, so it doesn’t just cater to the elite. You can basically mimic a European-style vacation from your own backyard, as long as you can endure the accents.

Previous Next August 8, 2024 WRITTEN BY: AMARÚ Music and movies are inextricably connected, and a single note can take us back to seeing our favorite movie for the first time. Even more, there are certain soundtracks that are just as iconic as the films themselves because an artist went absolutely HAM with their original music. If I mention Disney’s Tarzan , who isn’t first reminded of Phil Collins and his dulcet tones singing “You’ll Be in My Heart”? The Lion King ? Elton John asking Nala and Simba in the African plains if they “Can…Feel the Love Tonight”. Black Panther ? Once you've recovered from Future bringing “King’s Dead” to a screeching halt with the worst “la di da di da” in song history, Kendrick Lamar’s deep musings are spread throughout a pitch-perfect, 14-song anthem of revolutionary spirit. It’s with these movie music memories in mind that I want to hypothesize other potential marriages of artist and film, so I have chosen an artist to curate the soundtrack for ten upcoming* movies that I think just might take said film to unforgettable music levels. MOVIE: TRAP* *at the time of this writing, M. Night Shyamalan’s Trap hasn't been released yet ARTIST: Olivia Rodrigo Trap is one of my most anticipated films to finish out Summer 2024 because of its unique premise of trapping a serial killer in a concert venue. The setting alone necessitates the music being essential, and it must have a great balance of energy, emotion, drama, and a tinge of danger. Right now, one of the biggest names in pop music that checks all those boxes is Olivia Rodrigo. Her raspy tones are a great backdrop for M. Night’s thrilling scripts, and her ability to transition seamlessly from emotional screams to pure calm fits perfectly with Josh Hartnett’s creepy stare we’ve seen up and down those trailers. A pop-punk tracklist that can be played front-to-back at a concert is something I think a Trap soundtrack would greatly benefit from, and Rodrigo is a prime candidate to pull that off. (Author’s note: After watching this, kudos to M. Night for basically giving this to his daughter to curate and showcasing nepotism at its finest). ALTERNATE: Lady Gaga POSSIBLE FEATURES: Billie Eilish, Dua Lipa, Sabrina Carpenter, Lana Del Rey, Doja Cat MOVIE: GLADIATOR II ARTIST: Jay-Z After all the whining about the music in Gladiator II’ s first trailer, this pick is fueled primarily by pure pettiness. First off, there’s never not a good occasion to use the masterful needle drop that is “No Church in the Wild”. Second, Jay-Z has already delivered a terrific album for a Ridley Scott film powered by the epitome of cool that is Denzel Washington ( American Gangster) . So, when your first clip introducing the world to a legacy sequel is of Denzel laughing and dapping up someone in Roman times, you need music that matches that effortless swag. Jay-Z has been hip-hop royalty for three decades, and not only is he at a stage in life where his rhymes paint intricate pictures as substantial as Scott’s set pieces, but he also has connections to bring in acts, new and old, that hold similar gravitas. That’s the vibe Gladiator II needs. It has the weight of the original on its shoulders, but also must convince younger audiences that the story is worth continuing. Bring in strong production from the likes of Just Blaze, RZA, DJ Premiere, and Pharrell, and Mr. S. Carter could curate an album that lives up to the Gladiator legacy. ALTERNATE: Tobe Nwigwe POSSIBLE FEATURES: Frank Ocean, Nas, Rapsody, The Roots, Lil Baby MOVIE: WICKED ARTIST: Chappell Roan Wicked is all about identity. Glinda (Ariana Grande) wants to remake everyone in her image, and Elphaba (Cynthia Erivo), not realizing her own self-worth, wants to conform to societal norms so that everyone accepts her. For her part, Chappell Roan epitomizes not giving a fuck what anyone thinks, is unapologetically herself, and has an extravagant pop style that matches the flashiness of any musical. She has tons of girl-power anthems (where she can easily adapt her language for PG-13 audiences) for the witches to rock to and has the range to make emotionally poignant ballads for more dramatic moments. A Wicked soundtrack needs someone who won’t be overshadowed by the film’s musical numbers, and Chappell Roan would be up to that challenge. ALTERNATE: Taylor Swift POSSIBLE FEATURES: Lil Nas X, Renee Rapp, Alanis Morrisette, Florence & The Machine, Sufjan Stevens MOVIE: MUFASA ARTISTS: Davido & Tems I’d like to thank Beyonce for bringing music from the continent into more homes through her curation of 2019’s The Lion King soundtrack, but it’s time to give the reins to actual African artists for Barry Jenkins’ Mufasa . Afrobeats, one of the most popular up-and-coming genres in music today, can deliver that. Led by genre vet Davido and rising sensation Tems, this would be a collaboration of key Aftobeats artists providing jubilant, vibrant, and percussive sounds to the origins of Simba’s father. Davido’s youthful energy brings verve to Mufasa’s younger years, while Tems’ melancholic timbre guides us through the family conflicts we know are coming. Showcasing this exciting genre’s range of styles will easily bring life back to this franchise, which is exactly what Mufasa needs to buck the skepticism generated by its predecessor’s lifeless shadow. ALTERNATE: Wizkid POSSIBLE FEATURES: Burna Boy, Arya Starr, Tyla, Adenkule Gold, Omah Lay MOVIE: Untitled Ryan Coogler Vampire Thriller ARTIST: J.I.D Ryan Coogler is officially an event director, especially when paired with constant collaborator Michael B. Jordan. Their combination of pulse-pounding pace, effective storytelling, emotional resonance, and utter vibes has yet to miss. So, for the unofficial Blade movie that will actually release this decade, I had to go with the best new hip-hop artist out today, J.I.D. His intricate lyricism, ever-changing flow, and rapid-fire cadence will match Coogler’s exciting vampire-killing action sequences, and his soulful singing can slow the vibe for Jordan’s inevitably stirring gut-punches. Bringing on features from his Dreamville Records crew will only add to the grounded nature that will make this film successful. Lastly, full bias on display here, this is the one choice listed here that I really, really, REALLY want to come to fruition. ALTERNATE: Kendrick Lamar POSSIBLE FEATURES: J. Cole, Bas, EARTHGANG, Ari Lennox, Lute MOVIE: BALLERINA ARTIST: Rina Sawayama Yes, this is the same Rina Sawayama that played Akira in John Wick: Chapter 4 , and yes, her music is just as badass; there’s no better choice as a backdrop for Ana De Armas’ introduction into this world. Sawayama is a multi-genre artist, with the ability to morph into anything from R&B to indie pop, but no matter the genre, everything about her screams rock ‘n’ roll. Ballerina must continue the Wick legacy of big action, big scope, and big world building, and with her powerfully gritty vocals, gnarly guitar-fueled production, and propulsive lyrics, Sawayama has musical presence big enough to hit as intensely as every kick, punch, and stunt performed on screen. ALTERNATE: Steve Aoki POSSIBLE FEATURES: DeadMau5, Diplo, Marshmello, The Chainsmokers, Skylar Grey MOVIE: F1 ARTISTS: Run the Jewels & Zach De La Rocha When originally looking into artists for the upcoming Joseph Kosinski-directed, Brad Pitt-starring, sports-racing drama F1 , I was strictly thinking rock acts. However, once someone mentioned Run the Jewels (RTJ), all other choices went out the window. Yes, RTJ is a hip-hop group, but go to one of their concerts. With El-P’s fire-fueled production and Killer Mike’s booming cadence, if you ever attend one and a mosh pit DOESN’T ensue, you might be in the Twilight Zone. Add in frequent collaborator Rage Against the Machine frontman Zach De La Rocha, and you have the exactly correct adrenaline-filled musical act to match the intensity you know Kosinski is going to generate from inside of a Formula One racecar going 200+ miles per hour. ALTERNATE: Foo Fighters POSSIBLE FEATURES: Danny Brown, Denzel Curry, Travis Barker, Eminem, Red Hot Chili Peppers MOVIE: GUILLERMO DEL TORO'S FRANKENSTEIN ARTIST: Trent Reznor Trent Reznor has become a masterful and Oscar-winning movie score composer, but for what’s bound to be an epically eerie retelling of Frankenstein by the masterful Guillermo del Toro, I want to hear those Nine Inch Nails vocals once more. It doesn’t have to be purely his show either since he can also utilize his production skills to feature other rock acts like Queens of the Stone Age or Gojira. Either way, putting his footprint on both the score and soundtrack, combined with GDT’s unique vision, would mark this Frankenstein as something wholly different than the dozens of other retellings. ALTERNATE: Evanescence POSSIBLE FEATURES: Queens of the Stone Age, Gojira, Greta Van Fleet, Epica, Rob Zombie MOVIE: THE MANDALORIAN & GROGU ARTIST: Jack White In a franchise characterized by iconic scores, composer Ludwig Goransson did what most thought was impossible by creating ANOTHER iconic Star Wars sound with his score to The Mandalorian . It’s a major reason why that western-samurai story can transition into a man-and-his-son folk tale so well. If there’s one man that can take influence from Ludwig’s cool ass instrumentals, fit it into his own style, and collaborate with staples of country and folk music to create the soundtrack to “Mando & Son’s” walkabouts, it’s the brains behind The White Stripes. From his eccentrically chill musical stylings to his collaborations with the likes of Loretta Lynn, not to mention previous work on similarly western-tinged tales ( Cold Mountain ) and the ability to get gritty when necessary , Jack White is a great bridge of modern and classic folk vibes to bring this film to life. ALTERNATE: T-Bone Burnett POSSIBLE FEATURES: Sturgill Simpson, Mumford & Sons, Phoebe Bridgers, Bon Iver, James Blake MOVIE: THE HUNGER GAMES: SUNRISE ON THE REAPING ARTIST: Teddy Swims From Jennifer Lawrence’s rendition of “The Hanging Tree” to Rachel Ziegler’s harrowing musical performances as Lucy Gray Baird , The Hunger Games films are just as defined by its beautifully sorrowful music as its exciting action. With announced prequel Sunrise on the Reaping focusing on the rugged District 12 victor Haymitch Abernathy (previously played by the ever-mysterious Woody Harrelson), the musical standout must be someone with the same combination of pain, strength, intrigue, and soul. Enter Teddy Swims. He has the look of a chain-smoking, middle-aged, rock ‘n’ roll-loving biker, but when he opens his mouth, his soulful tone feels like the lost loves of 1000 lifetimes, leaving you staring quietly in awe. Swims will provide Sunrise with an emotive resonance that’s an excellent addition to this franchise’s stacked musical repertoire. ALTERNATE: Sam Smith POSSIBLE FEATURES: Alessia Cara, Justin Timberlake, Anderson.Paak, Erykah Badu, Jasmine Sullivan

A TEACHER Starring: Nick Robinson, Kate Mara, Ashley Zukerman, Rya Kihlstedt, Shane Harper, Dylan Schmid, and Marielle Scott Creator: Hannah Fidell QUENTIN This miniseries isn't perfect and I could certainly nitpick it to death, but you know...? I kinda dug it. Its biggest fault is that it struggles to let Eric (Nick Robinson) be a vulnerable teenager, which means some of the intimate moments come across as... hot?...instead of off-putting. Don't get me wrong, Robinson is great, but he's too old and cocksure to make the character dynamics as sketchy as they always should be. Otherwise, it fades a bit in the third act and is probably best watched in a binge as the entire season is better than any single episode.

Previous Next May 28, 2026 After five seasons, The Boys has come to an end. Were we satisfied with how they wrapped things up? Did the parallels to modern life become all too harrowing? Was Homelander finally defeated? Join Nick, Paige, and Adriano they as they reminisce, say goodbye, and discuss the epic conclusion to The Boys . Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!

Previous Next September 6, 2023 WRITTEN BY: AMARÚ When I was a child, I found reading to be an extremely boring experience. That is until I was grounded for a month because I did something unmistakably stupid, and my mother walked into my room, plopped the first four Harry Potter books in my lap, and said, “read…now.” The look she gave told me that I best do what she said, so I begrudgingly began reading. Four weeks, four books, and more than 1,400 combined pages later (TWICE), I was hooked. Not because I suddenly had a grand appreciation for reading, but because I saw the amazing movies that could be made while plowing through those stories. Ever since, the books I enjoy the most, even as an adult, are usually of the Young Adult (YA) fantasy variety because I can easily see them being adapted into adventurous, mysterious, and entertaining visual spectacles. There was a point in Hollywood history, after the successful adaptation of my first literary fandom, where the rights to every single YA novel on the planet were being picked up. Many of these great book franchises ultimately became haphazard cash grabs instead of the dense, character-driven stories they actually are. While studios today would rather go back to the wells that worked (e.g., Max remaking Harry Potter into a new television series), I have been thinking about mostly untouched series that I’d love to see get adapted in some way, shape, or form. So, with that in mind, here are five YA book series (some of which are already in production) that I think are prime to become the next great YA franchises, assuming they are authentically adapted, on either the small or silver screen. THRONE OF GLASS SERIES Author: Sarah J. Maas Sub-Genre: High-Fantasy Action Thriller Suggested Medium: TV Series Comparisons: Game of Thrones and The Witcher After seeing my comparisons, you might be thinking, “I thought you said YOUNG adult franchises,” but you’d be surprised just how much violence and sensuality are in some of these novels. This series follows the story of a young slave turned king’s assassin, Caelena Sardothian, who is thrust into a competition against the world’s deadliest warriors to earn her freedom from the king’s service. As competitors start turning up dead in the king’s castle, she finds herself embroiled in a treacherous mystery that not only endangers her life, but also unravels secrets from her past. The first book is led by a badass female protagonist (you’ll start to see a trend soon), has multiple intense action sequences, and a roller-coaster mystery that would keep audiences coming back week after week for the next episode. Subsequent entries dive into a much grander fantasy world, featuring deep lore, intriguing characters, and an engaging story teeming with frightening antagonists and exhilarating cliffhangers that could easily fill out multiple seasons. In 2016, it was announced that Throne of Glass , the first of seven novels, was being optioned for a Hulu television series, but the rights have since reverted to Maas with no further production currently in the works. A COURT OF THORNS AND ROSES SERIES Author: Sarah J. Mass Sub-Genre: Fantasy Romance Suggested Medium: Anime TV Series Comparisons: Beauty and the Beast , Outlander , and Battlestar Galactica While the previous series from Sarah J. Maas had an adaptation that fell through, her romantic fantasy series, A Court of Thorns and Roses ( ACOTAR ), is currently in the works (also at Hulu) with Outlander and Battlestar Galactica creator Ronald Moore at the helm. Although current plans are to make a live-action television show, I think this very adult-themed romantic thriller would be interesting as an anime. Similar to Throne of Glass, ACOTAR is led by a female protagonist, Feyre, who, after killing a wolf in the woods, is confronted by a beast-like creature demanding retribution. Dragged to a treacherous magical land she only knows about from legends, Feyre learns that her captor is one of the lethal, immortal faeries who once ruled her world. When the icy hostility she holds for her captor begins to turn into fiery passion, the lies and warnings she had been told of the dangerous faerie lands begin to burn away. ACOTAR is packed with ardent love stories, vibrant settings, and eccentric characters. With a message of self-discovery enveloped in these fervent and passionate tones, an anime style is a perfect fit for some of ACOTAR ’s over-the-top story elements. LORIEN LEGACIES SERIES Author: Pittacus Lore Sub-Genre: Sci-Fi Adventure Thriller Suggested Medium: Movie Franchise Comparisons: Ender’s Game and The Maze Runner I Am Number Four is one of the many YA books whose movie adaptation was sorely underdeveloped, falling vastly short of its source material. The 2011 film was a cheap, trope-filled high school drama with paper-thin characters and flashy action sequences, but the book’s story is filled with so much more heart and heartbreak. It follows John, one of nine child refugees from the planet Lorien, who, along with their nine guardians, are among the last of their race. They are on the run from an evil group trying to kill them before the Lorien children develop their “Legacies,” superpowers that are the only weapons they have to protect their people. Before leaving Lorien, a charm was placed upon them so they can only be killed in a particular order, and it notifies the others when one of them is dead. Three have been killed; John is number four. The story has great fish-out-of-water, coming-of age themes, exciting cat-and-mouse survival motifs, a beautiful father-son dynamic between John and his guardian, and numerous kinetic action sequences. Its subsequent entries delve into the spy-thriller, action-adventure, and political war drama genres to very captivating results. What they did to the first adaptation was shameful, and it deserves another shot to showcase its true strengths. THE GRACELING REALM SERIES Author: Kristin Cashore Sub-Genre: High-Fantasy Political Thriller Suggested Medium: Movie Franchise Comparisons: The Tolkienverse and Shadow and Bon e Katsa has been able to kill with her bare hands since she was eight years old because she is a Graceling, one of the rare people in her land born with an extreme skill, skills that can range from archery to baking. As the king’s niece, she should live a life of privilege, but instead, she is forced to kill on her uncle’s behalf, deposing other realms and elevating his power. Author Kristin Cashore’s opening novel in this series is a fairly straightforward fantasy story with a conflicted female protagonist who doesn’t want to be seen just as the king’s dangerous puppet. It features many elements similar to those seen in other female-led series on this list, but the main reason I have it here is because, while the first book’s characters and world-building are just unique enough to be a better-than-decent starting point, the second and third books are a surprising departure from the original. It’s a series that gets better with each entry, addressing themes of depression, abuse, and mental health by its much more methodical and introspective third book, Bitterblu e. RICK RIORDAN’S MYTHOLOGY UNIVERSE Authors: Rick Riordan, et al. Sub-Genre: Coming-of-Age Adventure Suggested Medium: Multi-platformed Connected Universe Comparisons: Wizarding World and The MCU Honestly, this entry is the whole reason I wrote this article. The absolute hatred I have for the Percy Jackson movie adaptations goes down to the depths of my soul. I loathe, despise, and utterly HATE those bastardizations of one of the most relatable, hilarious, exciting, and culturally competent literary series of my time. To really understand the gravity of my revulsion, go read this absolutely hysterical demolition of the studio by author/creator Rick Riordan HERE , where he explains why he ended up wanting no part of the film adaptations. Not only did 20th Century Fox kill a potential five-movie franchise based on Riordan’s original series, but it also stopped any possibility of creating a massive cinematic universe. Luckily, Disney+ has obtained Riordan’s blessing and, more importantly, his collaborative efforts to move forward with a rebooted television series, with Season One covering the first book, The Lightning Thief (arriving December 2023!). If that is done well, it can lead to so much more than four more seasons of Percy’s story. Riordan’s series was so thoughtful and entertaining that he was able to write multiple demigod stories, including a Roman mythology series that culminates in an Endgame -level crossover with Percy Jackson ’s Greek mythology series, an Egyptian mythology trilogy (with a Netflix movie already in the works), a Norse mythology trilogy, a book series centered around the Greek God Apollo, and several singular spin-offs and novellas, all of which are interconnected to some degree but can stand on their own as well. This universe is so beloved that he now has a publishing company that allows other authors to create demigod stories highlighting their own cultural histories, including Indian, African, Native American, and Chinese mythologies. For years, I never thought that anything could surpass my love for Harry Potter , but this one does it in spades. I am crossing every appendage in hopes that the upcoming series grows to the same heights as its source material.

Previous Next May 29, 2025 It's time for Ethan Hunt's final mission, and once again Amanda joins us to talk about how things all come to a close. Here's our thoughts on Mission: Impossible - The Final Reckoning . Click HERE to subscribe to our YouTube channel for all of our latest video content including our interviews, and be sure to give us a thumbs up and comment your thoughts!