Previous Next August 2, 2025 Insert your favourite dad pun here as the boys of the Bitesize crew talk The Naked Gun with special guest Harrison Martin. Were the jokes landing for the crew, or did they fall flat? 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!

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Previous Next May 31, 2024 WRITTEN BY: QUENTIN I did it! Another major film festival crossed off the list, and another 41 movies watched. Yes, you read that right: I saw 41 movies. In 11 days. It was a lot — like, a lot a lot. I might even say too much, only because most of these movies I probably wouldn’t have seen had it not been for Cannes, and honestly, I don’t know that I would have even noticed or cared that I didn’t see them at some point. For comparison, of all the movies that dropped at Cannes in 2023, I’ve seen just eight of them. Two of those were Best Picture nominees Anatomy of a Fall and The Zone of Interest , and truthfully, I didn’t care for either one of those. The real talk is, I’ve learned, even as a movie lover, most of Cannes’ film slate just doesn’t appeal to me and my American sensibilities. Also, at least this year, so many movies focused on the same themes, so there ends up being a lot of repetition as filmmakers from various countries all take on the same topic. This year’s topic du jour was #MeToo and the general mistreatment of women in patriarchal societies, which… obviously those are stories worth being told, but how many times do I need to see it in such a short timeframe? I agree, 100 percent: men are the worst, and women deserve better. I’ll never not agree, but by the tenth movie in six days with that message, it just became exhausting to sit through. Honestly, I'd feel the same way after a glut of thematically similar heist movies too. Still, though, I persevered because…why wouldn’t I? It’s Cannes, and I needed to make the most of it, both for me and for you. However, that has created a list of movies that is incredibly hard to rank against each other. How do you rank an American action blockbuster like Furiosa against a quiet Indian meditation on sisterhood? Something like Motel Destino might be objectively better than Horizon , but I’ll rewatch Horizon and all of its overlong sequels. I’ll never rewatch Motel Destino . It creates a quandary. As a result, the ranking below is not a single, top-to-bottom ranking of every movie I saw. Instead, I decided to break it down into three ranked categories: 1. The Top 11 Movies, overall; 2. Foreign-language movies; 3. English-language movies. The Foreign-Language and English-Language Rankings will not include any titles that made the Overall Top 11. Also, you may ask, “Why Top 11?” That’s a fair question. The Top 11 is made up of five English-language movies, five foreign-language movies, and one movie that has zero human dialogue. It just worked, perfectly balanced, as all things should be. So, who wants to read some reviews? FOREIGN-LANGUAGE MOVIES, RANKED 18. GHOST CAT ANZU Despite boasting an animation style reminiscent of Studio Ghibli, Ghost Cat Anzu doesn’t deliver a story anywhere near as moving, humorous, well-paced, or emotional as that famed studio’s offerings. The first hour follows the titular ghost cat as he farts, plays cards, rides a moped, and laughs annoyingly at random things. Eventually, a Spirited Away -esque plot kicks in that features genuine stakes, a semblance of character arcs, and less randomness, but by the time it gets to that point, I was already mentally checked out of its meandering nonsense, even as I found the innovative animation generally pleasing to the eye. 17. ARMAND Armand starts off incredibly strong, featuring terrific performances and a tone similar to 2021’s underrated gem Mass . However, what begins as a tense “he said/she said” chamber piece about lies and preconceived notions eventually goes off the rails. There is one scene where Renate Reinsve annoyingly laughs for what feels like 10 minutes, like a Family Guy joke that just won’t die. From there, it just gets weirder with the introduction of ghosts and random dance numbers. It makes me curious if director Halfdan Ullmann Tøndel even knows who his audience is. Then again, maybe these are typical sensibilities in Norwegian cinema and I’m the asshole. 16. PARTHENOPE The great irony of Parthenope is that, at its core, it’s an exploration of beauty and the superficiality that lies therein, yet it remains as shallow as a Calvin Klein ad. Yes, it’s beautifully shot, with beautiful people doing beautiful things in beautiful locations, but that’s about it. There is little in the way of emotional depth or resonant meaning, and it plays out just as one might expect. Gary Oldman does solid work in a small role as John Cheever, but sadly, he just made me long to watch the 1992 Seinfeld episode “The Cheever Letters.” 15. FILMLOVERS! Of all the movies on this list, Filmlovers! probably is the least accessible to a non-French audience. Film can mean different things to different cultures, and when you create a love letter to cinema that is part philosophical essay, part historical documentary (complete with film clips and testimonials), and part narrative…all told from the French experience…something is bound to be lost in translation. It makes it hard to relate to the talking heads or to see yourself in their proclamations about how a certain movie may have changed their life. I understand and respect the approach, but American “filmlovers” aren’t the right audience for this. 14. JULIE KEEPS QUIET Going into Julie Keeps Quiet , I was expecting something close to 2019’s The Assistant — a tense examination of what happens when one stays quiet in the face of observed abuse. As it turns out, Julie Keeps Quiet is too literal of a title because this is a tension-less film filled with long silences and avoided conversations. The thing Julie (Tessa Van den Broeck) is keeping quiet about lingers so subtly in the background that you forget it’s the crux of the story, leaving us with nothing more than a collection of lifeless scenes of people running tennis drills (“lifeless” compared to Challengers , at least). 13. ALL WE IMAGINE AS LIGHT In all honesty, I only saw this movie because the buzz on the ground at Cannes was that it could win the Palme d’Or (it ultimately won the Grand Prix, effectively second place). Personally, I don’t get it. Despite some terrific shots of Mumbai, this subtle tale of three women simply existing in a patriarchal society, shown through their friendship, desires, and traumas just didn’t grab me. I heard a lot of people call it “dreamlike,” which makes sense because it definitely made me want to take a nap. I get there is importance in the representation, but that alone doesn’t make for an amazing movie. 12. THE GIRL WITH THE NEEDLE Shot in gorgeous and haunting black and white, The Girl with the Needle is a bleak, sorta gothic horror movie that failed to resonate with me. I can certainly recognize the dark tragedy at hand, but other than lightly bumming me out, which has as much to do with its overall aesthetic as it does the particulars of the horrendous true story, it failed to evoke much emotion out of me. The imagery never elicited gasps, the dark turns were never shocking, and the performances never made me sit up in my seat. I’ll probably forget this movie exists within the next six months. 11. MISERICORDIA While the story beats are reminiscent of The Talented Mr. Ripley (or Netflix’s latest adaptation, Ripley ), Misericordia is a much more pared down, subtle, and quiet look at sexual repression, needs, and desires. Oh, and there is murder. It’s very dry and very slow, boasting perhaps the most indie feel of any movie from Cannes Film Festival, and while I can’t assuredly say it works, it doesn’t not work either. Personally, though? I wasn’t overly compelled by it. 10. SANTOSH Much like All We Imagine as Light , Santosh is the story of an Indian woman navigating the patriarchal society of Northern India, this time through the lens of a constable investigating the disappearance of a young girl. The investigation is nominally the core of the story, but it too often takes a back seat to the sexism and ugliness that Santosh (Shahana Goswami) must endure to get anything done, as well as the knowledge she gleans from a senior female officer. It’s not entirely unlike Indian Training Day , but it would have been more compelling with a better balance between the case and the social commentary. 9. SAUVAGES I’m always a sucker for stop-motion animation and claymation set designs, which Sauvages has in spades. On that front, I have no notes. However, the story itself is very preachy as it explores the question of (and obvious answer to) who the real “savages” are, natives or capitalists. Environmental protection is an extremely important and worthwhile message, especially in this era of climate change and its deniers, but it makes the movie feel more like a lecture than anything else. As a result, I suspect most adults will feel talked down to while most children will be bored by the dryness, cute monkey notwithstanding. 8. BEING MARIA Being Maria is the story of Maria Schneider, the female lead in the controversial erotic drama Last Tango in Paris , played terrifically by Anamaria Vartolomei. When the movie focuses on the trauma endured by Schneider while filming Tango , particularly the scandalous “butter scene,” it’s striking and heartbreaking. However, once it moves to the aftermath that occurs once Tango is released, it devolves into standard and shallow representations of “the downward spiral,” including typical scenes of addiction, sex, and generally dysfunctional behavior. Thankfully, Vartolomei elevates it all to be slightly more than the Lifetime Movie tropes we’re given. Also, Matt Dillon is surprisingly excellent as Marlon Brando. 7. SHE’S GOT NO NAME Yet another movie that is exploring domestic abuse and the treatment of women in a patriarchal society, She’s Got No Name looks back at a true story from 1940s China about a woman on trial for killing her abusive husband. Though there are some beautiful shots and Ziyi Zhang is fantastic as the alleged murderess, the story is extremely overstuffed with random diversions, which creates a movie that is too long and exhaustingly disjointed. The pieces are there for an important story with an important message, but it simply undermines itself by trying to include too many details. 6. I, THE EXECUTIONER Unbeknownst to me, I, the Executioner (a.k.a. Veteran 2 ), is a sequel. I didn’t see (or have even heard of) its predecessor, so I have no idea if there were important nuances or backstory I was missing as I watched this movie. That said, it’s an enjoyable but fairly standard action cop thriller. It reminded me of movies like S.W.A.T. and Striking Distance — you know, the kind of movies you stop on when flipping channels but never intentionally watch. If it were in English, it may have ranked higher, but being somewhat generic and in subtitles makes for nothing more than a one-time diversion. 5. ON BECOMING A GUINEA FOWL Have you ever watched a movie that you respect immensely even if you didn’t really enjoy the experience? On Becoming a Guinea Fowl is that type of movie. The messaging that abusers should be held accountable and that continuing to speak up even after being ignored is incredibly important. Plus, the representation of Zambian culture, tribal, and family dynamics is super enlightening. That said, this is not a movie I’d ever watch again, and I didn’t find my viewing experience to be personally rewarding. I did love the final shot, though. 4. WILD DIAMOND The biggest compliment I can give Wild Diamond is that I very much hated — and I mean HATED – Liane (Malou Khebizi), but that is such a testament to Khebizi’s performance as she plays the character as sympathetic but abrasive, vulnerable but tough-as-nails. Khebizi aside, I found a lot of the Gen-Z-ness annoying, but I’m a grumpy old Xennial, so… shrug emoji . On a more serious note, I genuinely can’t get on board with its message that one should do whatever it takes to live that “Influencer Life” (especially the end takeaway); however, Khebizi is so damn good that I can’t dislike the movie as a whole. 3. MOTEL DESTINO Whether director/co-writer Karim Aïnouz intended to remake The Postman Always Rings Twice , or if he just made a movie with similar plot points and themes is hard to say. Either way, despite what is easily described as a Brazilian adaptation of Postman (even if it wasn’t on purpose), Motel Destino is a sexy, sweaty, grimy, and primal approach to the familiar tale. Aïnouz uses searing colors, lush cinematography, and lusty rawness to cover for a somewhat flawed but never-less-than-engaging erotic thriller. You may have seen the Postman story before, but never like this. 2. THE BALCONETTES Another of the many movies from Cannes to touch on themes related to #MeToo , The Balconettes is a horror-comedy that relies on a wide-range of recognizable (but French-infused) vibes. There is a bit of Coen Brothers, some Quentin Tarantino, a lot of madcap burlesque, and a touch of vaudeville. Sure, it creates some massive tonal shifts, especially as it veers more towards the supernatural, which results in the movie losing steam towards the end because of the sheer scattershotness of it all, but I can’t say I didn’t have fun. 1. DOG ON TRIAL When one talks about finding hidden gems at film festivals, Dog on Trial is a perfect example. A movie that, on its surface, appears to be light and goofy (which it is) also works as a terrific metaphor for how society sees women, as well as a more straight-forward look at animal rights. Though almost never preachy, it explores the nature of the legal system, societal constructs, and humanity in humorous yet thought-provoking ways. It’s absurd and whimsical, but also deeply philosophical and observant. Plus, who doesn’t love a Movie Dog? ENGLISH-LANGUAGE MOVIES, RANKED 12. THE DAMNED While I commend what The Damned wants to do (and it does it well, to be fair), it doesn’t make for an enjoyable movie-watching experience. This is the type of war movie that isn’t about characters or battles, but the tedious mundanities that come between the battles. Plus, with it being set during the U.S. Civil War, the analog aspect of it all makes it even more of a slog to watch. It’s a lot of people just walking around, filling canteens, and eating beans next to a fire. Granted, it made me feel the same disillusionment the soldiers felt, but who wants that? 11. MEGALOPOLIS Although a modern world in which ancient Rome never fell is an incredibly fascinating premise, Francis Ford Coppola’s Megalopolis is an unmitigated disaster that vacillates from (presumably unintentional) campiness to overbearing self-seriousness at the drop of a hat. In addition to that, the story is so overstuffed and poorly developed, it’s like Coppola simply gave his stacked cast a handwave gesture and basic gist, leaving them to figure everything out on their own, which results in a collection of A-list actors who clearly aren’t working on the same wavelength. It’s not lacking in ambition, but the execution isn’t there. The visuals look sorta nice sometimes, though. 10. THE SHROUDS While The Shrouds isn’t without moments of intrigue, it’s generally let down by a convoluted conspiracy mystery, stilted acting (especially from Vincent Cassel), and atrocious dialogue. Also, not that I’m exactly complaining, but why is Diane Kruger naked for most of her scenes? In any case, I want to give writer-director David Cronenberg the benefit of the doubt because I know he’s using this movie to work through grief about his wife passing, not to mention it was originally written as a series for Netflix; however, in the end, I think he might have been a little too close to this one to recognize its flaws. 9. RUMOURS As a political satire, Rumours is certainly clever, but probably a little too smart for its own good. It requires a certain level of winking, “if you know, you know” awareness, and I’m not sure audiences lacking a general knowledge about geopolitical reputations will get a lot of the jokes present in this surreal sci-fi comedy. That awareness is the difference between a movie worth your time and a movie that is merely a mildly amusing diversion. No complaints about the cast, though, all of whom are game for the B-movie weirdness happening on screen. 8. FAYE Documentaries about movie stars tend to fall in one of two camps. They either are self-aggrandizing puff-pieces or unvarnished examinations that present the subject warts and all. Sadly, while Faye very lightly dips its toes into the latter, it’s mostly the former. Aside from a few passing references to Faye Dunaway battling mental illness and having a reputation for being difficult, this documentary offers little more than Wikipedia-level biographical facts and a collection of movie clips. That said, it may drive you to watch Bonnie & Clyde , Chinatown , and Network again (or maybe even for the first time), which isn’t a bad thing at all. 7. OH, CANADA Despite what other critics and Rotten Tomatoes might have you believe, director Paul Schrader hasn’t made a great movie in years. Sadly, Oh, Canada keeps that streak alive. The weird thing is that there are several things to like here, including a terrific performance from Richard Gere, poetic dialogue, and a great Americana-folk soundtrack, but all those things are squandered by lethargic and muddled storytelling that lacks passion. It wants so hard to be a melancholy treatise on life, death, and the regrets in between, yet it fails to make you care enough about the character to care at all about his remorse. 6. CHRISTMAS EVE AT MILLER’S POINT There are two plots in Christmas Eve at Miller’s Point — one that generally worked for me, and one that didn’t. If you grew up going to big family gatherings on Christmas Eve like I did, the fly-on-the-wall approach to the family get-together offers enough relatable holiday charm and nostalgia bombs to carry you through. However, once the B-plot about annoying teenagers sneaking out takes over, I started to lose interest because all the initial recognition of my own youthful holiday seasons faded away. I suspect one’s appreciation of this movie will depend entirely on how much of their own life they can see in it. 5. LIMONOV: THE BALLAD OF EDDIE Here is the thing about Limonov: The Ballad of Eddie — I absolutely loved parts of it. Ben Whishaw has never been better, giving a punk-rock performance that is as unflinchingly energetic as it is fascinatingly complex. Meanwhile, Kirill Serebrennikov’s direction is delightfully chaotic, grimy, intense, and stylish, capturing the vibe of 70s New York perfectly. That said, by the end, I was left wondering why I just watched a 140-minute biopic about a guy that I had literally never heard of before. It’s simultaneously too much and not enough, and for the most part, the details of Eddie Limonov’s (Whishaw) life have already faded from my memory. 4. HORIZON: AN AMERICAN SAGA — CHAPTER 1 Horizon — Chapter 1 is tough to review because, frankly, it’s not really a movie. Or at least it shouldn’t be. It’s like watching the first three episodes of a miniseries, which means it’s mostly just introducing a sprawling number of so-far-unrelated characters. There is very little development on any front, and nothing remotely resembling a typical multi-act story structure. The best way to describe it is “just western vibes,” so fair judgment probably should be reserved until after seeing Chapter 2 , if not Chapters 3-4 . Still, the acting, cinematography, and production design are very well done, and I’m invested enough to see the sequels through. 3. BIRD Bird is the type of meandering coming-of-age movie that is more focused on eliciting heavy emotion and sensitive realism than delivering an A-to-B story. Movies like Aftersun come to mind, which just aren’t really my cup of tea. On top of that, hopeful messages of “everything is going to be okay” and “no one’s no one” don’t really resonate with this cynic. So, double whammy for me. That said, I recognize the film’s beauty, as well as the strong performances, but predict that others, particularly women, are likely to be more moved by this picture than I was. 2. KINDS OF KINDNESS After Poor Things , one had to expect at least a small hangover with director Yorgos Lanthimos’ next outing, so it’s not exactly surprising that Kinds of Kindness is underwhelming. Don’t get me wrong, it’s good; however, it might be Lanthimos’ least good movie, which is all because of the story structure. Kindness is basically an anthology of three short films, and there is inconsistency in their levels of intrigue and development. I would have rather watched any of the three as a standalone feature instead of the truncated versions we get here. Still, all the typically weird greatness you’d expect from Lanthimos and this cast are present. 1. GOOD ONE Good One is a tremendous feature directorial debut from India Donaldson and a showcase for young star Lily Collias. Funny and insightful, understated yet complex, it explores Sam’s (Collias) transition from dependent teenager to empowered adult as she deals with two, generally harmless but not quite enlightened, middle-aged dads struggling to navigate the line between “daughter figure” and “fully realized woman.” Donaldson does a great job of putting us in Sam’s shoes as she observes their bickering, regrets, selfishness, and sexism, which creates a low-simmering tension throughout as we’re left wondering when enough might be enough. It’s simple and spare, but never slight, and always compelling. TOP ELEVEN MOVIES OVERALL, RANKED 11. INTO THE WONDERWOODS Truth be told, I don’t watch a ton of animated movies. It’s not that I don’t enjoy them, per se, but so many of them are unabashed toy commercials aimed at children. There is no real weight behind the storytelling, and it’s hard to tell which ones are worth my time. Enter Into the Wonderwoods , a charming and delightful spin on Alice in Wonderland that features beautiful and varied animation, as well as a surprisingly emotive score. I admit it’s a small sample size, but it’s one of the better animated movies not named Spider-Verse that I’ve seen in a while (...but hold that thought). 10. THE KINGDOM Although generally a coming-of-age tale, The Kingdom takes a darker and grittier approach than most genre offerings by focusing on the daughter of a Corsican mob leader in the middle of a gang war. It’s like watching Narcos from the perspective of Pablo Escobar’s daughter, which delivers two captivating aspects we don’t often see: 1. The effects gang life has on unaffiliated family members; 2. the dichotomy of a ruthless crime lord that is, first and foremost, a loving father. It makes for a taut, moving, and gripping experience. Even more impressive? This is director/writer Julien Colonna’s and star Ghjuvanna Benedetti’s feature debuts. 9. THE SECOND ACT I probably didn’t get every joke in director Quentin Dupieux’s The Second Act given its overall Frenchness, but I still laughed a lot, especially at Manuel Guillot’s hilariously nervous energy and physical comedy that work in any language. In addition to Guillot, the four French A-listers (Léa Seydoux, Vincent Lindon, Louis Garrel, and Raphaël Quenard) playfully play with their real-life public personas while making fun of just how silly actors and the film industry are. It’s breezy, playing like Tropic Thunder meets Extras , and though it may be sacrilege to say, there is a lot of potential here for an American remake. 8. THE APPRENTICE Much like Oliver Stone’s W. , The Apprentice offers a surprisingly sympathetic origin story to Donald Trump (Sebastian Stan), showing the evolution from Trump the Man to Trump the Brand. However, with Trump being such a divisive individual, it’s hard to pinpoint how much one’s politics will influence their opinion of the movie because, although it’s not exactly assaultive, it’s definitely not flattering. All that aside, though, the soundtrack, production design, and performances…especially Stan, who nails Trump’s mannerisms without ever falling into an SNL -style impression…are all on point. The quality certainly is there to make it worth your time if you can get past any political blockers. 7. TWILIGHT OF THE WARRIORS: WALLED IN With thrilling and incredible video game-inspired fight choreography (especially during the finale’s wild “Final Boss” fight) and a decent amount of character development, Twilight of the Warriors: Walled In is a total blast! The 80s throwback vibes and gritty noir-ish feel only aid in making this one of the best martial arts movies I’ve seen since maybe The Raid series (admittedly, I haven’t seen a ton of recent martial arts movies). The story beats strain credulity at times, but if you’re like me, you aren’t coming to a movie like this for the story, and Warriors more than delivers the carnage we’re all here for. 6. THE SUBSTANCE If you get squeamish with gross body-horror imagery and flat-out disgusting noises, The Substance isn’t for you. However, for those unbothered by such things, director Coralie Fargeat delivers a hilariously audacious commentary on Hollywood ageism and the impossible beauty standards women must deal with. Demi Moore — in a brilliant bit of meta casting — gives a fearless performance that should kickstart a career comeback, while a never-been-sexier Margaret Qualley continues to show why she is one of the most in-demand young actresses working today. Despite an ending that goes on for too long, between this and Revenge , Fargeat has reached “Event Director” status in the horror genre. 5. THE SURFER Few people can portray a man’s slow descent into madness better than Nic Cage, and director Lorcan Finnegan seemingly knows this. He’s content to simply allow Cage to do his thing and go wild as a mild-mannered, white-collar yuppie suffering a maniacal and hallucinatory psychotic break in the face of toxic masculinity, framing it all in a sun-soaked, 70s exploitation aesthetic that radiates off the screen. I mean, you can almost feel the heat and sweaty grime of the Australian beach with every suspenseful revelation that drives Cage’s character further and further into the spiral. The Surfer has B-movie, grindhouse cult classic written all over it. 4. EMILIA PEREZ I genuinely have no idea how Emilia Perez works as well as it does. Sure, it features terrific performances across the board (especially Karla Sofía Gascón), but it’s just such a bonkers premise and approach that you keep waiting for it to collapse under the weight of its own ambitions. It never does, though. The gritty crime elements are tense, the musical sequences are percussive and propulsive, and the character dynamics feel real and sincere. The fact that it all comes together near flawlessly is a testament to director/screenwriter Jacques Audiard’s ability behind the camera and the self-confidence in his vision on the page. 3. FURIOSA: A MAD MAX SAGA Given the (unexpected?) modern-day masterpiece that is Fury Road , there was some concern on my end that returning with a prequel would result in a disappointing cash-grab of a movie. Thankfully, Furiosa is anything but. It might be a bit too long, but you hardly care when the acting (Chris Hemsworth, especially), action, and writing are this good and compelling. It’s the rare prequel that stands on its own merits while expanding on the lore of everything that came before it and improving the depth of its immediate predecessor. Only time will tell if it’s better than Fury Road , but it deserves genuine consideration. 2. ANORA Director Simon Baker’s Anora is easily his most accessible, commercial, and polished film to date. It’s also his best, electric with chaotic energy that rarely abates as it sprints through a sex- and laugh-filled comedy of errors. At the center of the whirlwind is Mikey Madison, who gives a star-making performance that is funny, fierce, empowering, and ultimately heartbreaking. If you can imagine Pretty Woman mixed with Uncut Gems , then you’ve got a pretty good idea of what to expect. It’s worthy of any and all awards consideration it’s surely to garner as we get deeper into 2024. 1. FLOW I surely didn’t expect the best film out of Cannes to be a dialogue-free animated movie about a cat and other animals fighting for survival during a flood, yet here we are. With beautiful animation and surprisingly deep characterizations that should embarrass lots of other movies (again, zero dialogue), Flow is a tense, spellbinding, and emotional treatise on the importance of working together. It’s equal parts cute and poignant, appealing to both children and adults alike, especially those who played Stray or enjoy cat videos on YouTube. It’s already one of my favorite animated movies of all time. Photo Credits: Cannes Film Festival

HALO: SEASON ONE Starring: Pablo Schreiber, Shabana Azmi, Natascha McElhone, Bokeem Woodbine, Natasha Culzac, Olive Gray, Yerin Ha, Bentley Kalu, Kate Kennedy, Charlie Murphy, Danny Sapani, and Jen Taylor Creators: Steve Kane and Kyle Killen QUENTIN With established mythology and Pablo Schreiber as Master Chief, Halo had a lot of potential. However, it’s mostly undone by an air of cheapness that prevented me from getting wrapped up in it. Honestly, it feels like something from late-90s syndication (think early Stargate SG-1 ). I hope this makes sense, but the sets look like manufactured sets, not lived-in worlds…like, it was very obvious I was watching a television show, y’know? Schreiber is solid in the role at times, but it’s also hard to take him seriously because his costume is so cumbersome (and plastic-looking) that it affects how he walks. Ultimately, another mediocre video game adaption. AMARÚ Halo ’s first couple of episodes are reminiscent of 90s action films like Demolition Man : a fast-paced, action packed good time. But as the story evolves, the drama and mystery reach beyond what any video game property is expected to be. The political intrigue, dramatic storylines, and great performances are given as much care as the intense action and intricate sci-fi. Pablo Schreiber and Natascha McElhone are particularly engaging, while Bokeem Woodbine sustains the cool Sly & Arnie-like vibe. Halo deftly balances drama, action, sci-fi, and thriller elements to become one of the surprise series of 2022.

STAR WARS: THE BAD BATCH: SEASON ONE Starring: Dee Bradley Baker, Michelle Ang, and Rhea Perlman Creators: Jennifer Corbett and Dave Filoni JAMES The Bad Batch feels less like its own distinct tale and more like a retread of The Clone Wars and Rebels , minus the magic of either. It's fine if you just want more of "Star Wars czar" Dave Filoni's work, but it's a shame that the show doesn't explore its unique setting (the rise of the Galactic Empire) more deeply. Still, there are some riveting moments in season one and Dee Bradley Baker, as always, demonstrates his unbelievable voice talent in portraying the clones. The Bad Batch is still finding its footing and will hopefully succeed by season two.

UPLOAD: SEASON THREE Starring: Robbie Amell, Andy Allo, Allegra Edwards, Zainab Johnson, Kevin Bigley, Owen Daniels, Mackenzie Cardwell, Kristine Cofsky, Jeanine Mason, and Andrea Rosen Creator: Greg Daniels NICK Although Upload stalled a little in its second season, I had hoped it was just a sophomore slump. Season Three, while it makes renewed effort to advance the story, is too convoluted for its own good. There are interesting ideas introduced, but they lacked the execution necessary to maintain my intrigue. Robbie Amell, Andy Allo, and Allegra Edwards continue to play these characters well, but the scripts they work with are missing the key component that made Season One so good, comedy. The cliffhanger ending suggests there’s another season to come, but if you ask me, Upload has already overstayed its welcome.

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

Previous Next February 24, 2025 Welcome to A Bigger Bite, the podcast series where we take a deeper dive into some of our favourite films of the year (spoilers included). With the Oscars coming up, we've decided to launch with an episode for each film the Academy Awards have nominated for Best Picture, releasing an episode each day leading up to the big ceremony. To say this film has stirred up some controversy would be an understatement... here's Emilia Pérez ! 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!

THE MARVELOUS MRS. MAISEL: SEASON FOUR Starring: Rachel Brosnahan, Alex Borstein, Michael Zegen, Marin Hinkle, Tony Shalhoub, Kevin Pollak, Caroline Aaron, and Luke Kirby Created by: Amy Sherman-Palladino JACOB Were it not for stellar production/costume design, The Marvelous Mrs. Maisel ’s fourth season would be a uniquely disappointing enterprise. The dialogue, while often funny, is overly repetitive, with each conversation being a series of quips between multiple characters that ultimately doesn’t come to anything, even if the performances still work. The only truly profound moment is Luke Kirby’s excellent Carnegie Hall speech. What really sinks this season, though, is a distinct lack of growth for its protagonist. Midge (Rachel Brosnahan) is a straight-up asshole all season long, and the show refuses to call her on it. Hopefully, next season will actually confront that. QUENTIN In its penultimate season, The Marvelous Mrs. Maisel makes a weird choice by deciding to be about everyone EXCEPT Midge Maisel (Rachel Brosnahan). She just kinda bounces from side character to side character with no real story arc, functioning merely as the connective tissue that holds the other characters’ disparate storylines together. For better or worse, all the hallmarks of the series are still there (the impeccable costume design, the pitter-patter dialogue, feminist messaging, etc.), but in getting away from the titular character, it feels like the show ran out of ideas for her. Maybe it’s good that next season is the final season.

Previous Next October 31, 2025 WRITTEN BY: THE BITESIZE CREW As everyone probably knows, Quentin is Bitesize’s resident old man. With that often comes complaints about how some of the opinions and views of Bitesize’s younger writers — the youths, as he lovingly calls them — tend to skew too recent, especially when it comes to rankings and Bitesize Top Five. Sure, his rantings can often be taken as an old man yelling at clouds, but during a recent brainstorming session for future group articles, we might have found some truth in his possibly senile harangues. The idea pitched was “Deep Cuts,” where each writer would pick a lesser-known movie from a popular performer’s filmography and discuss why it’s underrated. The thought process was that this would highlight movies we enjoy even though they were critically maligned, underseen due to release circumstances, or simply forgotten by the general masses. However, when we started tossing out the names of actors and actresses to focus on, we had a problem. For every suggestion, all but one had at least two writers who hadn’t seen anything but the most popular or most recent movies of said performer. The knowledge base simply wasn’t there. A deep cut list for Tom Cruise that features the likes of Mission: Impossible , Jerry Maguire , and Rain Man isn’t a list of deep cuts at all. The idea just didn’t work. All said and done, 24 actors and actresses were suggested, from Sylvester Stallone to Saoirse Ronan. The only performer who had at least seven writers that could contribute to a list of deep cuts was, of all people, Ryan Reynolds. As a result, we flipped the idea. Instead of highlighting deep cuts that we love, our writers will look back through the annals of film and watch and review a movie that we very obviously should have seen but haven’t for whatever reason. This will make us all better film fans and critics while maybe giving you additional insight into why each writer reviews newer movies the way they do. So, welcome to “Film School,” our new recurring article series. Each iteration will be topic-centric, so feel free to offer topic suggestions in the comments on Instagram, Facebook, or X. For our first lesson, since today is Halloween, let’s dive into Horror Classics. Class is in session… THE CABINET OF DR. CALIGARI (1920) After seeing The Cabinet of Dr. Caligari on movie superlative lists for years, it wasn’t until The Unbearable Weight of Massive Talent — where Nicolas Cage calls it his favorite movie — that I added it to my watchlist. Well, the time is now, and the hype is quasi-real. If you can get past it being a silent movie from 1920 (a big ask, to be sure), you’ll be treated to a tremendous example of expressionism whose fingerprints can be seen on works from a wide range of filmmakers, from Tim Burton to Robert Eggers. On top of that, the score is incredible, a mix of electric guitar, synthesizer, piano, and horns that has clearly influenced both heavy metal and jazz musicians alike. Once you consider the inherent creepiness that stems from being a 105-year-old German movie, from the old-world makeup and distorted set design to the sheer graininess of it all, it’s easy to see why Caligari has been considered an all-time classic as the first horror, cult, and arthouse film. I don’t need to watch it again, mind you, but it was a worthwhile experience. Also, it’s on YouTube if you’re interested. — Quentin NIGHT OF THE LIVING DEAD (1968) Despite studying film for four years, one of my most glaring film blindspots was Night of the Living Dead . I obviously knew of its significance, but finally watching it revealed the extent of its impact. It highlighted to me just how much contemporary zombie movies are inspired by George A. Romero’s iconic picture, particularly 28 Days Later , as both films employ scrappy filmmaking techniques and a story focused on confused, scared civilians (some more heroic than others) who are forced to work together to survive. Also, Night looks incredible, especially the striking use of lighting and shadows that is almost Hitchcockian. Every shot is purposeful, and the violence, whilst somewhat mild compared to what audiences are accustomed to today, is shocking in its own way. Additionally, I really enjoyed the pre-1970s acting, which doesn’t rely so much on realism but rather on a more operatic style of emoting that really lends itself to heightened tension. Lastly, the ending is a smack in the face, a brutally bleak conclusion after we’re given a sliver of hope. Overall, Night of the Living Dead is one of the best zombie films I’ve seen. — Katie SUSPIRIA (1977) I compete in a horror movie trivia league, and no matter how well-versed you THINK you are, you will find others who run circles around you. Fortunately, this article presented an opportunity to round out my genre knowledge because, despite previously studying a varied slate of Dario Argento’s films, I missed Suspiria . I’ve learned that was a mistake. Argento is a master of ramping up suspense and drawing out kill scenes by using sound and visuals as a distraction in the lead up to a crescendo of artful violence. It is like ballet, which is apropos for this film since it is set at a dance academy. Despite some acting difficulties stemming from language barriers, it isn’t hokey; it remains tense and unsafe throughout. Even the supernatural aspects don’t seem outlandish but consciously considered, like everything else that comes across the screen. — Robert THE SHINING (1980) The Shining ’s slow descent into madness is anything but slow moving. It always has your attention, whether through director Stanley Kubrick’s beautiful one-shots, composers Wendy Carlos and Rachel Elkind’s haunting score, or the brilliant acting from the Torrance family (Shelley Duvall, Jack Nicholson, and Danny Lloyd). I also can’t pass up the chance to mention that this supernatural psychological horror from yesteryear, has to, of course, feature a magical black man (Scatman Crothers), and it isn’t a misused trope for once. Yes, The Shining is long. Yes, it’s meticulous. But dammit if it doesn’t live up to the hype. — Amarú TWILIGHT ZONE: THE MOVIE (1983) As a fan of The Twilight Zone , it’s baffling that I had never seen Twilight Zone: The Movie . I think I steered clear for so long because of the horrific tragedy that occurred on set during the filming of John Landis’ segment, which resulted in the death of Vic Morrow and two children. That said, I tried my best to go into this film with a clear mind. Each outing certainly offers a different take on the beloved series. Joe Dante’s “It’s a Good Life” delivers a Carrie -like narrative that is quite creepy, while Steven Spielberg presents a more whimsical and heartfelt story with “Kick the Can.” However, George Miller’s “Nightmare at 20,000 Feet” is the most successful at capturing the authentic tone of the show. Unfortunately, as a whole, the film never lives up to expectations, nor does it come close to the unsettling brilliance of the original series. The 1983 movie just doesn’t hit like the iconic episodes from the early 60s do. — Paige THE LOST BOYS (1987) The sad truth is, sometimes, you just see a movie too late. Had I seen The Lost Boys as a kid, I would've eaten it up. Unfortunately, without that nostalgia attached, this one just doesn't do it for me. I'm not saying it's a bad film (it's not), but there just isn't anything that made me understand its reverence. The effects, characters, and performances are fairly average (even for the time), and the most memorable thing about it is Gerard McMahon's "Cry Little Sister." Yes, the track is a banger, and its use throughout the film is perhaps the film’s greatest strength. Look, it's a nearly 40-year-old film, and the fact that I liked it at all still says something. Having said that, I don't think I'll ever feel a need to revisit it. — Nick CEMETERY MAN (1994) If you find yourself watching Cemetery Man , you'll likely be telling yourself, "wow, this is a lot of fun!" but also "what the hell?!" It’s a delightfully silly and creepy 90's B-movie, directed by Michele Soavi, about a cemetery night guard (played by Rupert Everett) tasked with killing the undead rising from their graves, and it revels in the zaniness of its concept with genre flair and gothic perfection. It pushes the idea to its limit, and considering all the gore and sex this movie offers, that limit is not for the faint-hearted. I'm willing to bet that most people reading this have never heard of this movie, and frankly, I hadn't either until recently; however, I'm very glad I did because, even if you aren't into the B-movie type of grind, you can safely say there's nothing like Cemetery Man . — Adriano THE INNOCENTS (2021) The Innocents begins in the dark. Literally. For what feels like a minute, the viewer is treated to nothing more than a black screen scored to the isolated sound of a young girl singing the folk song “O Willow Waly.” That then bleeds into the 20th Century Fox logo, denying us the pleasure of hearing that iconic fanfare in the process. It’s a perfect setup for an increasingly chilling feature. Director Jack Clayton takes much of the ambiguity that fuels Henry James’ novella The Turn of the Screw and maximizes it for all that it’s worth, slowly but surely. Its wide CinemaScope frame heightens the darkness that surrounds Bly Manor, and its editing, scoring and sound techniques are truly ahead of its time. All these aspects effectively add to the question of whether the hauntings are truly supernatural, or if they are actually a result of Miss Giddens’ (Deborah Kerr) worsening mental state. This was a blindspot of mine that I was more than happy to find myself enveloped in. — Bode

1899: SEASON ONE Starring: Emily Beecham, Aneurin Barnard, Andreas Pietschmann, Miguel Bernardeau, José Pimentão, Isabella Wei, Gabby Wong, Yann Gael, Mathilde Ollivier, Jonas Bloquet, Rosalie Craig, Maciej Musial, Clara Rosager, Lucas Lynggaard Tønnesen, Maria Erwolter, Alexandre Willaume, Tino Mewes, Isaak Dentler, Fflyn Edwards, and Anton Lesser Creators: Jantje Friese and Baran bo Odar PAIGE 1899 is a pretentious AF show that, at times, is navigating through rough waters. For such an atmospheric and thought-provoking show, it often felt very tedious. The ingredients of mystery and suspense are there, but I needed more answers throughout the season to come out on the other side more satisfied. The structure of 1899 would’ve worked better as a limited series, and although some storylines aren’t tied up by the end, I personally don’t see the need for another season. But who knows? Maybe I will come around on it. Time will tell. QUENTIN It’s hard to say too much about 1899 without getting spoilery, but I’ll give it one thing: it builds an excellent sense of dread, foreboding, and general misery in each of its way-too-many characters. The problem is that the series is super slow until a big reveal in the fifth episode; once that happens, it becomes convoluted and far less interesting. It’s like a series built from all the worst parts of Lost , even borrowing some of the same imagery and a very similar story structure. Honestly, Episode Five is the only hour of the eight that truly held my interest. That’s not a good ratio.

INVINCIBLE: SEASON THREE Starring: Steven Yeun, Sandra Oh, J.K. Simmons, Walton Goggins, Seth Rogen, and Gillian Jacobs Creators: Robert Kirkman, Ryan Ottley, and Cory Walker AMARÚ The first six episodes of Invincible : Season Three is a much more cohesive story than we’ve gotten in previous seasons, and it makes for an incredibly interesting and contemplative story surrounding the consequences, both internally and externally, of Invincible’s (Steven Yeun) actions. It also showcases just how expansive creator Robert Kirkman’s comic-book world really is. Weirdly, in past seasons, I enjoyed the disjointed detours to the vastly numerous side characters, but the newly intertwined stories felt less exciting this time around. They aren’t bad, but it took pretty long to feel fully invested. Luckily, I did leave intrigued on how this season will end. KATIE The first six episodes of Invincible: Season Three are some of the darkest of the entire show. Mark (Steven Yeun) is challenged in new ways, forcing him to reconcile with what it means to be a hero and the increasingly complex consequences of his actions. I found that the first two seasons neglected the more human elements of Mark’s life, but this time feels very well balanced. A couple of subplots initially struggled to maintain my interest, but even they eventually won me over. I was left on the edge of my seat, and I can't wait to see the next episodes. PAIGE With its bloody fights, nuanced character development, and weighty themes, Invincible 's third season has many great aspects, yet whatever made the first two seasons so remarkable seems to be absent. Perhaps it's that it introduces new characters rather than focusing on the existing ones we already want more of, or that it focuses on smaller subplots rather than expanding on the bigger story arcs that are at hand - I'm not entirely sure. What I do know is that I enjoy delving into the personal and external conflicts that our main character Mark (Steven Yeun) faces, but nothing in these first six episodes feels particularly significant. Check out our reviews for Season Two HERE .