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

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

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

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

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

Previous Next Having already done our Non-MCU Marvel list and with the release of Blue Beetle this month, we figured what better time for the Bitesize crew to put their brains together to compile Bitesize Breakdown's consensus Top Five DC Films/Series. This list only includes DC branded releases. Imprints such as Vertigo were deemed ineligible. Each writer ranks his or her top 15 releases in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. BATMAN BEGINS It can't be overstated just how vital to the health of the superhero genre Batman Begins truly was at the time of its release. That it remains as fine an example as any of how to do an origin story nearly two decades later is both a testament to its quality and a reconstitution of the achievement of director Christopher Nolan. From its vision of Gotham City to its reimagining of the title character, it still exists as one of the greatest superhero films ever made. - Jacob 4. BATMAN (1989) When I was growing up, superheroes didn't dominate cinema the way they do now. So, when Michael Keaton donned the cowl to become Batman, matched up against Jack Nicholson's unhinged Joker, I was enamoured. Featuring the perfect marriage of director Tim Burton's horror sensibilities (which were expanded on even more in the sequel Batman Returns ) and its two dynamic lead performances, this film is the catalyst for everything we've come to love in the genre today. As for how it holds up nowadays? It's no coincidence Warner Bros. brought Keaton back as the Caped Crusader over 30 years later. - Nick 3. THE SUICIDE SQUAD I like my comic book movies gritty, and director James Gunn gave me that with 2021's The Suicide Squad while also mixing in the perfect balance of playfulness. He did a fantastic job of assembling some of DC’s most unknown criminals into an exhilarating team of antiheroes that we have now come to love (I’m talking about you, King Shark (voiced by Sylvester Stallone) and Peacemaker (John Cena)). Compared to 2016’s Suicide Squad , this flick is filled with A LOT more humor, heart, and, of course, violence… just loads of bloody violence. It’s also oddly sincere. We need more R-rated superhero films like this! - Paige 2. THE BATMAN “When that light hits the sky, it’s not just a call. It’s a warning.” The Batman gives the world’s greatest detective the film he deserves in a gritty, intense, and fascinating noir film. Director Matt Reeves’ iteration of the character is dark (but not in a cold way) as the film takes its time to develop Bruce Wayne (Robert Pattinson) in a way not seen before on the big screen. Not to mention, with Michael Giacchino’s beyond-catchy score and Greig Fraser’s astounding cinematography, The Batman is a comic book film for the ages. - Adriano 1. THE DARK KNIGHT There are many reasons that Bruce Wayne is running rampant up and down this whole damn list, and The Dark Knight is reason number one. Literally. There was no other choice here (except maybe a miniseries that gave many Americans much needed history lessons). The magnitude in which Heath Ledger, Christian Bale, Morgan Freeman, Christopher Nolan, Hans Zimmer, James Newton Howard (those last two are composers, people), and even Michael Jai White deliver has been spoken upon thousands of times before, and we all know why. This movie is damn near a masterpiece top to bottom, not just one masterful performance. You all knew this was gonna be here while scrolling down this particular Top Five, so don’t act surprised. - Amarú HONORABLE MENTIONS PEACEMAKER JOKER WATCHMEN (2009) MAN OF STEEL BATMAN RETURNS Photo Credits: Warner Bros.

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

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

Previous Next September 18, 2025 WRITTEN BY: QUENTIN It’s film fest season, and I’m back at it! While covering Fantasy Filmfest 39, I watched 30 movies in eight days, many of which were also part of the film programs at Berlin, Cannes, Venice, and Toronto International Film Festivals. That just goes to show that, although it might not get much recognition outside of Germany, this is a banger of a film festival, especially for genre fans. Starting in 1987, Fantasy Filmfest is an annual international film festival that is (mostly) simultaneously held across seven major German cities in September, focusing on thriller, horror, sci-fi, and more. In addition to the core festival, there is also Fantasy Filmfest: White Nights (a two-day festival in February) and Fantasy Filmfest: Nights (a four-day festival in April). Check out the festival’s mission statement: Pairing intense horror films with breathtaking thrillers, obscure science-fiction tales, and heartfelt dramas, Fantasy Filmfest remains THE alternative to superhero heavy mainstream cinema. At Fantasy Filmfest, fantasy does not mean dragons, elves, and magical forests, but stands for creativity, innovation, and absurdity. Fantasy Filmfest celebrates the oddball, the obnoxious, and the challenging with its program of bold and striking films. It features all those quiet, loud, and quirky nuances that are often overlooked by the profit-oriented film industry. Full of (fake) blood, sweat, and tears, Fantasy Filmfest simply stands for one thing: films that are fantastic! Over the years, Fantasy Filmfest has been lucky enough to debut some bonafide classics, including the world premiere of The Boondock Saints , the German premieres of Final Destination and Pulp Fiction , and the European premiere of Saw . Did Fantasy Filmfest show any future classics this year? Read through my ranked list and find out! 30. MAN FINDS TAPE Everyone has their broadly biased loves and hates when it comes to movies. Some people love all heist movies; some people hate all horror movies — that’s just the way it is. With that in mind, I know that this review of Man Finds Tape is extremely unfair because a few of my broadly biased hates are found footage, fake documentaries, and using “screen videos” from a cell phone. Man Finds Tape uses every single one of those filmmaking approaches, and despite being just 84 minutes, it felt like forever. I legitimately almost walked out. 29. NIGHTMARE BUGS Truth be told, I probably should have skipped Nightmare Bugs . However, when covering a film festival, you try to see as much as possible in the name of discovery, even if you know it won’t be for you. As it stands, I’ve long known anime isn’t for me, so this is yet another unfair review. It’s fine, I guess? I don’t know. The artwork, especially on the monsters, is really well done, but as much as I tried, I just couldn’t get myself invested in the story. Will true anime fans enjoy it? Maybe? I honestly have no idea. Sorry, but I’m of no help here. 28. HER WILL BE DONE Her Will be Done plays a little like if Call Me by Your Name was a Polish folk horror, with a dash of Stephen King’s Carrie thrown in for good measure. I have no doubt that there is an audience for this movie, but I’m not it since it’s another farmhouse horror, a la The Witch , that relies more on atmosphere, production design, and moody vibes than actual story. It’s just a slog of a movie that I struggled to stay awake during. However, I fully admit that could be a “me” thing since I seem to have this issue with a lot of similar movies. Maybe judge this one for yourself. 27. THE THINGS YOU KILL I’ve never been a big fan of director David Lynch, so when things are described as Lynchian, it’s not exactly a selling point. Furthermore, Lynchian surrealism is hard enough to understand in English, so watching it through subtitles can make it doubly confusing. The Things You Kill is exactly that — an extremely slow, very Lynchian tale about a man dealing with generational inner darkness and feelings of inadequacy in a patriarchal society. It’s the type of movie whose meaning I needed to clarify after the fact, and honestly, the explanation I found on Google was far more interesting than the actual movie I had just watched. 26. CRUSHED If one were to check out Crushed based solely on the appealing, almost family-friendly poster, that person would be in for a rude awakening because the subject matter at play here, which includes pedophilia and cruelty to animals, makes for an extremely uncomfortable viewing experience. And while I understand that showing the ultimate depths of humanity’s darkness is meant to really drive home Pastor Daniel’s (Steve Oram) crisis of faith, as a non-religious person, I just couldn’t relate to or invest myself in his inner turmoil, leaving me with the depravity but no thought-provoking moral conflict. 25. ODYSSEY Odyssey is clearly going for something akin to Uncut Gems , but it struggles to maintain the audience’s interest because it fails to craft a compelling central character or tangible stakes. You’re essentially watching an insecure but egotistical real estate agent have the worst week of her life, but there is no true intrigue to the undercooked issues she is dealing with. So, by the time the out-of-nowhere (albeit well-done) finale of violence starts, you’re already checked out. Credit given where credit is due, though: Polly Maberly gives a great lead performance because I hated her character. 24. NO ONE WILL KNOW Movies about ill-gained lottery tickets aren’t new, with Finder’s Fee and Your Lucky Day both coming to mind. Unfortunately, if you’ve seen either of those two movies, No One Will Know doesn’t offer much of a fresh perspective. Underwritten characters blend into a confusing story structure built on alternate viewpoints of single incidents and cutaway scenes depicting the various lies being ginning up. Granted, maybe something was lost in the subtitles, but the repetitive looping aspect of the narrative is extremely frustrating, even preventing the viewer from investing in the most basic “what would you do?” aspect of a story like this. 23. DOG OF GOD If you go into Dog of God expecting the next Flow since both are animated films from Latvia, let me stop you right there. This movie could not be more different, with the only shared aspect between the two being beautiful animation (rotoscoping, in this instance). That aside, Dog of God is sure to be divisive. Hell, I’m internally divided. On one hand, I have no idea what I just watched or the point of the story. On the other hand, I was too captivated by the borderline pornographic imagery on screen to look away. It’s a scene, man. 22. SWORD OF VENGEANCE When your poster advertises “ Mad Max meets Highlander ,” you’re kinda setting yourself up for failure because that is an almost impossible hype line to live up to. Sadly, Sword of Vengeance does indeed fail to rise to the moment. Don’t get me wrong, I can see where the comparisons make some sense, but they are extremely superficial and mostly applicable to the world-building done here. Otherwise, Vengeance lacks exciting action, charismatic characters, or a compelling narrative. If you squint, you can see a bit of the two classics it was compared to, but it’s Fury Road with no fury and Highlander with paltry highs. 21. THE HOME (HEMMET) If not for Anki Lidén’s performance, I’m not sure much would be memorable about The Home (not the same as The Home with Pete Davidson, see below). Overall, this is a by-the-book possession flick blended with a story about dementia and abuse. However, writer-director Mattias Johansson Skoglund never links these ideas in a way that is wholly satisfying, and the things happening on screen don’t always make sense; or worse, they are unnecessary diversions. On the plus side, Skoglund does a solid job of creating an unsettling atmosphere (even more than he establishes legitimate scares, frankly), although that could be on me since I think old people are creepy. 20. ROQIA Of all the horror subgenres, exorcisms are the most tired. With that in mind, I appreciate that director Yanis Koussim does something rather fresh with the idea. By using possession to explore Islamic radicalism instead of the typical Catholic good v. demonic evil story, we are given a unique perspective with cultural relevance, even if the film ultimately succumbs to usual tropes. That said, while there is an unnerving atmosphere throughout, it’s painfully slow, which surely isn’t helped by the subtitles. One prayer is constantly repeated by the exorcist, so it became so much redundant reading that it completely pulled me out of the experience. 19. NINA Nina , a Spanish thriller, does a terrific job of evoking the atmosphere of neo-noir and European westerns of the 70s through its score, production value, and set and costume designs. The performances are no slouch either, especially Patricia López Arnaiz. However, the pacing is a bit too languid to truly capture the audience in the early going. In fact, I was never fully engaged until a reveal around the midway point, which results in everything that came before feeling like an unnecessary prologue. Following said reveal, the film re-establishes its purpose, causing viewers to lean forward in their seats with more interest. Sadly, it’s too little, too late. 18. THE HOME While The Home has plenty of gore, semi-effective jump scares, and an excellent symphony of violence in the final 10 minutes, it overall falters due to extremely sluggish pacing and a general feeling of cheapness. I’m honestly surprised this wasn’t released directly to Shudder, but I guess Miramax figured Pete Davidson was a box office draw. Speaking of Davidson, he’s not exactly miscast, but his character here is basically the same as his characters in Big Time Adolescence and The King of Staten Island , which makes this performance little more than adequate for horror. Overall, this might have worked better as an episode of Tales from the Crypt . 17. WE BURY THE DEAD We Bury the Dead does a decent job of creating a zombie world with genuinely fresh rules, but writer-director Zak Hilditch buries those rules under the same ol’ zombie movie tropes we’ve seen time and time again. He also doesn’t flesh out Ava (Daisy Ridley) enough to truly hook the viewer, leaving her journey mostly superficial and wavetop to the point where her climactic moment — the entire point of the story — comes and goes without much catharsis or resolution. Hilditch does well as the director, demonstrating a good eye and getting great performances from his cast, but his script sinks the ship a bit. 16. DEATHSTALKER As a big fan of Steven Kostanski’s 80s tributes Psycho Goreman and Frankie Freako , not to mention having an affinity for old-school sword-and-sorcery movies, I was super excited for Deathstalker . On the surface, it has everything I’d want in a modern homage to movies like Krull : terrific practical effects, lovingly shoddy visual effects, fantastic creature design, and self-aware weirdness. So, I’m puzzled as to why I found it so flat and (mostly) lacking in fun. It’s almost like Kostanski is showing too much reverence for the genre, so it veers into being too self-serious. Perhaps this is an expectations problem, and a second viewing is needed. 16. OTHER Other , a familiar tale about a woman returning to the ancestral home after the death of a parent to discover strange occurrences, manages to keep viewers on their toes by never showing its hand until the very end. Director David Moreau uses a plethora of tricks — some good, some less so — to keep the mystery pumping, most notably by keeping the things that go bump in the night relegated to the shadows and out-of-focus background. Unfortunately, once the movie flips over its cards, it does so with such inelegance that it all ends up feeling a bit silly. 14. HONEY BUNCH While there aren’t many scares in Honey Bunch , the beautifully mesmerizing 70s pastiche, to include some tremendous needle drops, helped keep me engaged even through the film’s slower moments. It certainly has horror-ish elements, but it’s more like directors Madeleine Sims-Fewer and Dusty Mancinelli first crafted an oddball love story about what it means to be devoted to one’s partner, then very lightly sprinkled it with some suspense-thriller dust. Honey Bunch is ultimately better from the macro view once all is said and done than the micro view while you’re in it, but its dreamlike qualities had me entranced, nonetheless. Strangely, its whole vibe reminded me of The Lobster . 13. OMNISCIENT READER: THE PROPHECY If you put Scott Pilgrim vs. the World , Squid Game , and a bit of Pixels into a blender, you’d end up with something close to Omniscient Reader: The Prophecy , which is a lot of fun until it really isn’t. Despite the hit-and-miss CGI, an approach that skews a tad younger than I’d like, and some too-on-the-nose messaging, each developing video game-like scenario creates genuine moments of tension and decent action. However, the third act goes off the rails by mostly tossing aside all the elements that made the story intriguing in favor of throw-it-at-the-wall action noise and poor explanations. 12. EXIT 8 Unbeknownst to me, Exit 8 is based on a video game. I can 100 percent see how the game — a psychological horror walking simulator — would be equally addictive and frustrating, especially in VR. In fact, the movie adaptation does a great job of capturing the overall feeling of a VR game, particularly with the shot framing. However, as a non-participatory viewer, it becomes monotonous rather quickly despite director Genki Kawamura doing his best to switch things up around the halfway point. Still, Exit 8 is mostly effective, flaws and all, but it might have been better as an episode of an anthology series. 11. SWEETNESS Sweetness is essentially a modern update to Stephen King’s Misery , specifically speaking on the current era of squads like Swifties and The BeyHive, where pop stars have reached near God-like status complete with faithful and extremely protective followings. As such, Sweetness naturally has moments of young adult, Gen Z cringe; however, they are offset by a willingness to go much darker than one might initially expect. For the most part, the movie — built on a tight-rope performance from young Kate Hallett — works, aside from the ending, which delivers a message that I don’t ultimately love. 10. MARCO Marco is almost two movies in one. The first is an over-the-top action-revenge movie that is so ludicrously absurd that it feels like an SNL skit at times. I mean that in the best way possible. The violence, music, choreography, and stylish direction are the perfect amount of Bollywood bonkers. That movie is about 60 minutes long. The second movie — the one that surrounds the first one — is an additional 90 minutes of over-written and unnecessary exposition. Overall, Marco is like Kill meets RRR , and despite me wishing it was shorter, the ridiculous action sequences are just too damn entertaining. 9. BAMBOO REVENGE Thematically similar to movies like Violation and Promising Young Woman , Bamboo Revenge is an imperfect but tight French thriller. There are a few moments where you need to maybe overlook a small detail to simply let the story unfold, but those moments don’t take away from the intriguing mystery at the film’s core. That is particularly true since there really isn’t time to get bogged down in the minutia given the brisk 87-minute runtime. Though I had my predictions — some right, some wrong — I was fully invested from beginning to end, and for a foreign indie thriller this lean, what more can you ask for? 8. BONE LAKE Bone Lake generally lives up to the expectations set by the posters and the fact that it’s a sex-driven horror thriller with a puntastic title, delivering suspense, thrills, and laughs throughout its brisk runtime. The tension, sexual and otherwise, is palpable, and while there certainly is a feeling of erotic-thriller hotness, director Mercedes Bryce Morgan manages to create that atmosphere without being gratuitous (opening scene aside). Personally, I wouldn’t have minded if it went a little harder and got a little steamier, but I can’t complain with what I was ultimately given. Bone Lake is a wickedly fun ride. 7. HI-FIVE Seemingly trying to recapture the vibe of early 2000s Marvel, Hi-Five is a Korean throwback to fun and funny superhero comedies like Tim Story’s Fantastic Four . Suffice it to say, it’s silly, but only in the most charming ways. And the special effects aren’t great, but that adds to the nostalgic charm. More importantly, though, the characters are engaging, the humor works (even through subtitles), and the soundtrack is full of 80s bangers. Look, I get comparing Hi-Five to Fantastic Four might not be a selling point, but it hearkens back to when superhero movies were a mostly light-hearted good time. I’d watch a sequel. 6. SLANTED Skillfully blending Mean Girls with The Substance , Slanted is a clever satire about internalized racism and self-acceptance in the face of society’s treatment of minorities. It is, admittedly, a little too-on-the-nose and heavy-handed in its messaging; however, considering this likely was made for a teen audience, that obviousness can easily be forgiven because of how funny, sharp, somewhat heartbreaking, and perhaps most importantly, timely it all is. In her feature debut, writer-director Amy Wang announces herself as someone to keep an eye on, and I would love to see what she does with something a little more grown up. 5. WELCOME HOME BABY Though it may be yet another movie about a woman who must return to the ancestral home following the death of a parent only to discover strange occurrences, I immediately bought into what Welcome Home Baby was selling. That is mostly thanks to a tremendous lead performance from Julia Franz Richter, who effortlessly pulls you into her unraveling as unexplainable happenings and creepy interactions continue to mount. Unfortunately, I can’t really discuss the overall themes and the metaphor at play without getting into spoiler territory, and this absolutely is a movie you should walk into blind. I’ll just say… Welcome Home Baby was a surprising and welcome discovery. 4. THE PIANO ACCIDENT With The Piano Accident , director Quentin Dupieux has crafted a brilliant satire on the emptiness of internet fame, particularly as it relates to the Jackass -style videos that barter self-harm for celebrity status. But as great as his script is, it all hangs on the performance of Adèle Exarchopoulos as Magalie, an entitled, egotistical, and despicable human being that you can’t help but be drawn to and even feel sympathy for. Admittedly, I wonder to what degree hearing her awfulness in beautiful French softens her edges a bit, but the irreverently light-hearted tone that Dupieux peddles creates the same effect. This is a black comedy winner. 3. THE TOXIC AVENGER This remake of The Toxic Avenger is a loving homage and tribute to Troma Entertainment and weird 80s B-movies (including the original The Toxic Avenger , obviously) much in the way that Black Dynamite is a love letter to blaxploitation movies of the 70s. It features all the hallmarks of the era’s cult classics: hilarious absurdity, buckets of blood and gore, a terrifically warped charm, and unparalleled self-awareness. The entire cast, but especially Kevin Bacon and Elijah Wood, know exactly what kind of movie they are making, and if director Macon Blair can maintain this level of commitment in potential sequels, I’ll watch every goofy-ass chapter. 2. CODE 3 Here's something I didn’t expect to have on my 2025 movie Bingo card: Code 3 is a gem of a movie and one of the year’s biggest surprises. Despite being marketed as a straight comedy, this is anything but. Yes, there are dark laughs, but only in the way that one must laugh in the face of tragedy just to get through the day. Otherwise, this is an honest and harrowing tribute to paramedics and a scathing indictment of the American healthcare system. It’s heartfelt, heartbreaking, and surprisingly moving, all the more shocking given the film’s overly photoshopped travesty of a poster. 1. GOOD BOY Weapons and its director, Zach Cregger, have (rightfully) dominated the horror conversation recently, but both director Ben Leonberg and his feature debut, Good Boy , need to be mentioned right alongside them. Seriously, and surprisingly, this is one of the best and most creative horror movies in years thanks to Leonberg’s brilliantly novel direction and — I’m not even joking — perhaps the best performance of the year. Yes, I’m talking about Indy the Dog. I felt every bit of the pup’s fear, confusion, anguish, and concern, which drives an effectively innovative horror experience that is spookily disorienting and oddly heartfelt. Good boy!? Very good boy…

Previous Next April 8, 2026 Robert Pattinson and Zendaya are working together a lot this year, and their first collaboration could be the most talked about film of 2026. Kristoffer Borgli's The Drama has a lot it wants to say, and so do we. Join Nick, Adriano, Amarú, and returning guest Jeannine Brice as they dive into the societal and comedic themes that Borgli explores in his unorthodox rom-com. 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!

SEXY BEAST: SEASON ONE Starring: James McArdle, Emun Elliott, Sarah Greene, Ralph Brown, Tamsin Greig, and Stephen Moyer Creator: Michael Caleo QUENTIN In a world where Jonathan Glazer’s film Sexy Beast doesn’t exist, Paramount+’s Sexy Beast (prequel) series might have been, at least, okay as a new crime tale. As it stands, though, that terrific film does exist, and this show cannot get out of its tremendous shadow. The story, one of British gangsters gangsterin’, is slow-moving, but might have been enough to capture interest. However, when you’re constantly thinking about how stars James McArdle, Emun Elliott, and Stephen Moyer are no Ray Winstone, Ben Kingsley (who was Oscar-nominated for his role in the movie), and Ian McShane, respectively, it really puts a damper on things.

Previous Next Franchises like Star Wars, Jurassic Park, the MCU, and countless others have been going steady for quite some time. Who started things off the best, though? That's what we aim to determine as the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Franchise Starters. Each writer ranks their top 15 films in the category. Those lists are then weighted on a reverse point system. After all the points are tallied up, the entries with the most total points make up the Bitesize Top Five. 5. THE GODFATHER Praising The Godfather is seemingly tiring, and yet there's so much to praise. The film is consistently considered one of, if not the , greatest film ever made, and it is the quintessential American epic, supercharging the career of now legendary filmmaker Francis Ford Coppola. The iconic nature of The Godfather is seemingly universal. Whether it's the characters, the quotes, or the music, this movie has grabbed everyone in some small way, and it was so successful that it became a trilogy in the years to come (I'd argue that The Godfather Part II is even better). I remember first watching the film in high school, knowing the bar that was set and preparing to be underwhelmed by it. Lo and behold, beyond the striking filmmaking and its approach to the mafia, I was mostly shocked by just how entertaining it is. I imagine the conversation on this movie will continue to be had as long as there are movies. - Adriano 4. THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING Peter Jackson’s The Fellowship of the Ring took on the insurmountable task of introducing J.R.R. Tolkien’s fantasy epic, The Lord of the Rings , to cinema-going audiences. The first installment in a groundbreaking trilogy, it can stand alone, but ultimately opens the door to the greatest fantasy films ever made, renowned for being meticulously crafted and full of dedicated performances and characters who bring the screen to life. This film transformed my perspective on the fantasy genre, which I had previously struggled to enjoy and truly invest in due to the plethora of characters, dense mythology, and location names I’d never remember. But Fellowship showed that fantasy storytelling can be detailed, emotionally engaging, humorous, exciting, heartfelt, visually stunning, and immersive all at the same time. - Katie 3. JURASSIC PARK Everyone loves dinosaurs. It’s an undeniable fact, and one that has remained true for as long as the Jurassic Park franchise has been going. With as many sequels as it has spawned, though (including the arguably underrated III ), it would be difficult to argue that any of them fully live up to the majesty of Steven Spielberg’s 1993 classic. The adaptation of Michael Crichton's bestseller still inspires much awe, wonder, and fear more than 30 years later thanks to Dean Cundey’s beautifully composed photography, the masterful combination of Stan Winston’s practical animatronics and ILM’s groundbreaking visual effects, an unforgettable cast of characters led by the likes of Sam Neill, Laura Dern, Jeff Goldblum, and Sir Richard Attenborough, and of course, one of the most iconic and beloved scores in John Williams’ storied career. We’ll see how new director Gareth Edwards fares with Jurassic World Rebirth (which original co-writer David Koepp wrote), but no matter what, Jurassic Park will always be lightning in a bottle. - Bode 2. RAIDERS OF THE LOST ARK Even in the 80s, moviegoers were not familiar with the adventure serials of the ‘30s, so finding an interesting means to modernize classic stories was George Lucas and Steven Spielberg’s purpose with Raiders of the Lost Ark . They monumentally succeeded as they conceived professor and archaeologist Indiana Jones as a period-specific hero. With Harrison Ford in the role, audiences were swept up in world-spanning escapades with a main character that could fight and teach them about biblical mythology. Like the source material, it was also ripe for further exploration, with more magical items to acquire and more Nazis to be dispatched. Some may prefer The Last Crusade , but Raiders is timeless. - Robert 1. BACK TO THE FUTURE I'm never going to turn down a chance to talk about my favourite film of all time, so I'm glad to see that it ended up #1 on this list (no collusion, I promise). Back to the Future , to me, is the closest thing there is to a perfect film. Not only did this initial entry set the stage for what became the greatest trilogy of all time, it has maintained its quality and relevance. This film came out in 1985 – 40 years ago – and you can still watch it today without relying on nostalgia. You often hear people begging for original ideas that aren't linked to an existing IP. Something fun, exciting, and memorable... Well, perhaps you need to travel back in time to scratch that itch. The clock tower isn't the only place lightning struck. This film is magic. - Nick HONORABLE MENTIONS ALIEN DIE HARD STAR WARS: EPISODE IV - A NEW HOPE OCEAN'S ELEVEN SPIDER-MAN: INTO THE SPIDER-VERSE