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Previous Next John Wick is the latest franchise to spin-off with the upcoming Ballerina. So, that got us thinking about what some of our favourite spin-offs are across both film and television. You know what that means... yes, the Bitesize crew has put their brains together to compile Bitesize Breakdown's consensus Top Five Spin-offs. Considering we've already done a prequel list, we've omitted those titles from inclusion here. Each writer ranks their 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. THE LEGO BATMAN MOVIE The Lego Batman Movie stands out as an animated spin-off that, in my view, may be truer to the character it focuses on than the live-action films. It broke through the pervading superhero fatigue as a shining example of a comic book movie that balances serious and silly. It’s hilarious and full of hysterical gags, but respects the source material, satirising the Batman universe and his character in a way that highlights his loneliness in a surprisingly emotional way while also lovingly making fun of his signature angst. The Lego animation enables impressively vibrant and imaginative visuals, and the way the characters move, like real mini-figures brought to life, adds to the comedy and charm. It also benefits from the genius casting of Will Arnett as the titular character, whose moody, solitary Batman ultimately is what makes this spin-off so enjoyable for adults and children alike. - Katie 4. PEACEMAKER When it comes to the Bitesize Top Five, I usually refrain from ranking recent movies and series because I want to give things time to breathe before I anoint them with superlative praise. However, in the case of Peacemaker , I can’t deny that it’s a near-perfect spinoff even if it dropped in 2022. It’s a terrific blend of tremendous action, raunchy hilarity, and layered pathos. More importantly, it expands DC’s cinematic universe — something Warner Bros. has long struggled with — in ways that no one expected from a series this irreverent, all while demonstrating the best way to use John Cena’s physique, perfect comedic timing, and willingness to do just about anything. In fact, it was so good that it resulted in Warner Bros. giving James Gunn the keys to the kingdom. And that theme song? It’s still my ringtone. - Quentin 3. THE PENGUIN Having The Penguin on this list after only a year might have you saying, “woah woah woah, take it easy sweetheart.” But honestly, it doesn’t take long to recognize the show’s greatness, especially after Colin Farrell’s disappearing act as the show's titular character in The Batman left you wanting to see and hear his Oswald Cobb accent as much as humanly possible. The Penguin is the rare IP television show that doesn’t lean on its recognition to succeed, instead using it to lift tremendous performances and brilliant writing. If Cristin Milioti wasn’t named Sofia Falcone, she still would capture your full attention alongside Farrell’s Penguin, and the fact that non-comic-book lovers could watch this show with as much enthusiasm as The Sopranos or Breaking Bad shows just how well this spin-off landed. - Amarú 2. THE SIMPSONS No matter what generation you’re in, whether you first caught it during its golden years or during its supposed decline in quality, you very likely grew up with The Simpsons . Considering that it’s currently 36 seasons deep into its run with at least four more to come, it’s safe to say that’ll continue to be the case for new generations too. One could say that it’s easily the most successful spin-off ever, having originated as a series of recurring shorts on Fox’s The Tracey Ullman Show . Designed to be shown before and after commercial breaks, the reaction to Matt Groening’s crudely animated cartoons proved so positive amongst viewers that producer James L. Brooks decided to adapt it into its own series for the network. A few pitches later, and the rest is history as its satire on all aspects of American life created a brand like no other, which includes a feature-length movie (my first full exposure to the world of Springfield, incidentally), a few theatrical shorts (including the Oscar-nominated The Longest Daycare ), several tie-in video games, and much more. The day The Simpsons and its impact on culture ends is the day the world ends, and even with how things are going these days, I’m not counting on the latter happening any time soon. - Bode 1. CREED In a sea of legacy sequels and spinoffs, I'll always stand by the idea that Creed is the gold standard. Like many, I presume, when I first heard about a Rocky spinoff about Apollo Creed's (Carl Weathers) son, my first instinct was, "oh, brother!" In my defence, I had no clue just how unstoppable director Ryan Coogler and actor Michael B. Jordan were. Creed does everything right, plain and simple. It builds off the legacy of the originals while never prying off your nostalgia, crafting its own legacy in the process with new characters and its own sense of primal boxing glory. The highs are high, the emotions hit, it's fierce, and everything is earned. Creed is a masterwork of modern blockbuster cinema, and I can't imagine the bar getting any higher than this. - Adriano HONORABLE MENTIONS BORAT STAR TREK: THE NEXT GENERATION FAST & FURIOUS PRESENTS: HOBBS & SHAW GEN V FRASIER

Previous August 1, 2024 Next A BITESIZE CHAT WITH ZACH KORNFELD Director Zach Kornfeld (The Try Guys) joins Nick to talk about the importance of telling this story and his future beyond The Try Guys. Make sure to check out Ouch! and all the other great offerings from Fantasia International Film Festival. Interview conducted on July 24th, 2024 by Nick van Dinther.

Previous Next October 26, 2023 WRITTEN BY: NICK Although I’ve had the chance to virtually cover this festival in the past, this was my first time attending Toronto After Dark in person. It won’t be my last. The fanbase for this festival is rampant, and it felt like a more controlled Midnight Madness screening at the Toronto International Film Festival. Plus, the Q&As were more fan centric, even featuring some of the participants giving away merchandise from their films. It helped create a very special vibe. Due to time constraints, I was only able to attend the Opening and Closing Night Screenings, but this did allow me to see Late Night with the Devil , which I’d missed at this year’s Fantasia Fest, as well as a strong collection of short films. It was a good time, not a long time… but here is my wrap-up of Toronto After Dark 2023. THE LAST EXIT The Last Exit (aka Little Bone Lodge ) is quite the ride. What starts off feeling like a run-of-the-mill home invasion thriller soon becomes something far more interesting. Director Matthias Hoene isn’t afraid to take big swings, and while they don’t all pay off, the attempts should be commended. The film is more than just the sum of its twists, however, as Joely Richardson and Neil Linpow are the ones who really sell the somewhat convoluted script with honest performances. The Last Exit isn’t without flaws – it’s low on re-watch value and drags a little – but it’s bound to keep your attention. IT'S A WONDERFUL KNIFE No question, there are moments in It’s a Wonderful Knife that work – Justin Long’s over-the-top mayor is ridiculous enough to be funny, for example. However, where the film falters is in its unwillingness to go full spoof. The comedic aspects of the film are its strongest facets, but they’re bogged down by a desire to be taken seriously. You could still have the entertaining horror moments, such as the strobe sequence, and maintain the tone of a parody, but by not going that route, It’s a Wonderful Knife becomes a slightly below average horror flick that feels destined to be forgotten. LATE NIGHT WITH THE DEVIL Late Night with the Devil is an impressive feat. The film not only transports you back in time to the 1970s, but it does so while seamlessly blending its timeline into our actual past. This smart directorial decision makes everything feel authentic to the period. David Dastmalchian plays the host of the proceedings, and he channels the squeaky-clean cheese of yesteryear with an era-perfect performance. You feel as if you’re sitting in the audience of this supposed pivotal moment in time, and it makes for a special theatrical experience. Go out of your way to catch this one when it releases wide. SHORTS Although we only cover feature films and series with our patented bitesize reviews, with a festival like this, it only seems fair that we give somewhat equal time to the 10 short films I was able to check out, just with an even smaller bite… a nibble so to speak… BYE-BYE is a short that feels like a teaser trailer. It’s a nice little snippet of horror, like a nightmare you dozed into. BIRD HOSTAGE is ridiculous in the best way possible. Not quite a horror, this quirky tale of a housesitter and a bird is a good time. Oh, and the bird is voiced by Jay Baruchel. Need I say more? POOL PARTY spends the majority of its runtime setting up a finale that it doesn’t earn. It’s an interesting premise with lacklustre execution. GAMESMANSHIP was a highlight of the short films. It’s a clever premise (which I won’t spoil) that is well executed thanks to some quality humour and effects. I’m glad I got to see this one with an audience. MYSTERY BOX is a poorly acted short that fails to build the suspense it necessitates. Its cliff-hanger conclusion is neither satisfying, nor does it leave any interest in a continuation. FORGOTTEN LAKE feels more like a TV ad or an SNL horror-themed skit than anything that should be taken seriously. That said, it is self-aware, so that isn’t necessarily a bad thing. CAMP doesn’t do anything to make itself stand out; it plays like a singular scene from a movie instead of being a fully fleshed-out idea. DEMON BOX is a documentary about the making of a film, so it’s like watching a film with the director’s commentary on. A personal story for the director, he goes over the reality of growing up a Jewish child who fears Nazis. SOUL PROPRIETOR flips the exorcism trope on its head in this comical short with just enough legs to stretch into a feature. THRIVING: A DISASSOCIATED REVERIE is another winner from the duo of Nicole Bazuin and Andrea Werhun! Much like their prior shorts Modern Whore and Last Night at the Strip Club , this is a well-done character study featuring sharp directorial decisions. Photo Credits: Toronto After Dark

Previous Next January 24, 2024 WRITTEN BY: ADRIANO We truly are in the thick of awards season, and like usual, the majority of attention is centred on the acting categories. This year, several performances are dominating the conversation, and with actors like Lily Gladstone, Emma Stone, Cillian Murphy, and Da’Vine Joy Randolph receiving their flowers, I can’t help but smile. That said, while most of the performances being recognized are more than deserving, there are bound to be a few that have unfortunately fallen by the wayside, especially considering the incredible year in film we just had. As such, I wanted to take this opportunity to acknowledge some of my favourite performances from 2023 that, for whatever reason, are not getting the awards recognition they fully deserve. Warning: Mild Spoilers KŌJI YAKUSHO ( PERFECT DAYS) Some performances may seem like there is very little happening on the surface, and then there is Kōji Yakusho in Perfect Days . In theory, Yakusho isn't asked to do much at all in the Wim Wenders drama, as he's relatively silent the whole movie as he goes around Tokyo cleaning toilets and going about his day-to-day. But with how little he projects, it's what's on the inside when you look into his eyes that conveys so much more. Yakusho's character, Hirayama, constantly rides a high-wire act of dissatisfaction and heartache, but just peering into him, you can see the little things that bring him such joy. That’s what makes Perfect Days one of 2023's most endearing watches. The last shot alone, where we stay on Yakusho for a little under a minute, shows the pure talent on display. GLENN HOWERTON ( BLACKBERRY) I've been a fan of It's Always Sunny in Philadelphia for years, and I’ve always been remarkably impressed with the talent of Glenn Howerton. His line delivery always gets something out of me, especially during Dennis Reynolds' more rage-fueled moments. So, to my delight, he finally got to show off what he can do outside of Sunny with Matt Johnson's BlackBerry . As Jim Balsillie, Howerton was tasked with portraying a corporate shark with a short-tempered mentality towards his enemies. He could have played this lazily, and it still would have been entertaining. But he didn't. Yes, he yells a lot, but he becomes a room-silencing force to be reckoned with, a feeling he sometimes is able to convey with just a stare. I hope this is just the beginning of a more distinguished career for Howerton. HAVANA ROSE LIU ( BOTTOMS) When done right, a comedic performance can be just as effective as a dramatic one, and Emma Seligman's high school comedy Bottoms is filled with hysterical performances that elevate the already very funny script (shoutout to Marshawn Lynch). However, since seeing the film in August, Havana Rose Liu has remained in my mind for her pitch-perfect comedic timing throughout the film. In a film where I laughed quite a lot, the scenes where I laughed the hardest were due to Liu's starry-eyed yet strong and confident delivery. Two moments in particular that stand out to me are, one, her reaction to hearing she has been cheated on, and two, when she confronts the cheating boyfriend. The reactions are polar opposite, but firmly believable because of Liu. CARA JADE MYERS ( KILLERS OF THE FLOWER MOON) With Leonardo DiCaprio, Lily Gladstone, and Robert De Niro giving knockout performances, it can be hard to remember just how incredible the entire ensemble of Martin Scorsese's Killers of the Flower Moon is. It's a film filled with impactful performances compacted in smaller roles. Take Cara Jade Myers for example… As one of the victims, Myers portrays Anna Brown with a stern confidence that makes her character arguably the most memorable outside of the central three. On the surface, Brown is a reckless alcoholic, but through Myers, we have a woman aware of the wolves circling her, fearful of her fate while also fighting for her humanity. We don't get much time with her, but the time we do have makes it all the more heartbreaking when she is gone. JACOB ELORDI ( PRISCILLA) After 2022's star-making turn from Austin Butler as Elvis Presley, to get another version of the King of Rock ‘n’ Roll so soon seems jarring. Thankfully, Jacob Elordi's portrayal of Presley in Sofia Coppola's Priscilla allows him to capture a unique portrait of the icon. Elordi nails the Elvis of it all, in the sense that he truly feels like Elvis Presley, from the mannerisms to the voice. There are even moments where the physical resemblance is frightening (props to the hair and makeup department). That said, what makes his performance so special is how human he comes across…in beautiful ways, and more importantly, ugly ways. Elordi expresses the love he shared with Cailee Spaeny's Priscilla Presley very believably, but also the stress and weight of the world on his shoulders, resulting in the toxic side effects that are fully felt. If Butler's Elvis was meant to reaffirm our perception of Presley, Elordi's was meant to show us a side we've never seen before. SOPHIE WILDE ( TALK TO ME) If there is one performance this year that feels like a true lightning-in-a-bottle, star-is-born moment, it has to be Sophie Wilde for her turn as Mia in Danny and Michael Philippou's debut horror film Talk to Me . In the beginning, Mia seems like your run-of-the-mill high school senior, but little does she know, her life is about to be altered in the worst ways. In one of the year's most surreal moments, when she first begins the ritual and becomes "possessed", Wilde is unrecognizable. Her physicality in the moment is truly haunting to watch, and that's just one scene, mind you. As the film goes on and the spirits begin to fully encapsulate her, Wilde portrays her character’s descent in a way that is true to the Philippou brothers' crazy vision, but never in a way that feels fake, not for a second. Also, keep in mind, this is Wilde's feature film debut. MARGARET QUALLEY ( SANCTUARY) Being that Zachary Wigon’s Sanctuary is a chamber piece, a weak performance can diminish the overall effect of the film. Christopher Abbott certainly brings a vulnerability to ground the film, but Margaret Qualley gives this movie a life that takes the film up several notches from scene to scene. From the beginning, even under a facade, there's something mysterious and seductive about Qualley. It isn't until her true persona and motives are revealed, when the twisted game of wills begins, that Qualley truly lets loose. By nothing more than the way she speaks, you can tell that she holds all the power, holding Abbott's character deep in the palm of her hand. By the end, despite the character's clear flaws, Qualley has a way of even roping viewers in, making us almost root for her plight. That is the marking of a truly effective performance right there. ALISON OLIVER ( SALTBURN) Given the star power on display in Emerald Fennell's Saltburn , from rising stars Barry Keoghan and Jacob Elordi to industry titans Richard E. Grant and Rosamund Pike, it's quite impressive that, for me, the stand out is far and away Alison Oliver. As Venetia, Oliver bursts into the film silently, yet instantly alluring. Throughout the film, there's something mysterious about Oliver's cadence. You can't tell if she's mischievous or seductive. As the film goes on, we begin to see she's just broken, and only personally satisfied through pleasure. In the film's second most notable bathtub scene, Oliver's monologue displays something I feel the film needed more of: vulnerability. Yes, she's a good person, but she's still seeking happiness, and in that moment, it feels like Oliver is expressing the acceptance that Venetia will never get. PATTI LUPONE ( BEAU IS AFRAID) In Ari Aster's Beau is Afraid , the topic of the trauma and anxiety that toxic parental figures can inflict upon their children is taken to many, many extremes. Joaquin Phoenix's Beau is quite a damaged character, so when we finally meet the woman who caused all this torment, she had to be an immediate force of nature. With barely any screen time, Patti LuPone accomplishes just that, instantly…and I mean INSTANTLY. Mona's gaslighting and putdowns feel like gunshots, and LuPone's stern delivery cut deep into Beau, almost justifying the previous two-plus hours of him being the way he is. To be honest, if I had a mother like Patti LuPone's character, I'd probably be a neurotic oddball as well. MILO MACHADO-GRANER ( ANATOMY OF A FALL) Last, but most certainly not least, I must talk about a performance from my favourite film of 2023, Justine Triet's Anatomy of a Fall . Much has justifiably been said about Sandra Hüller's earth-shattering performance, but one performance that I can't help but think about is Milo Machado-Graner as Daniel. I'm always blown away when a child actor can be so comfortable and magnetic in front of the camera, and Machado-Graner is no exception. One might argue that part of what makes me so impressed with this performance is merely the fact that he was 13 years old at the time of filming, but no matter his age, what he pulls off as the grieving Daniel is truly outstanding, particularly towards the final act as the focus on him and his beloved dog, Snoop, take centre stage to deliver some of the most impactful acting of the year. Photo Credits: Photo 1 - DCM; Photo 2 - Elevation Pictures; Photo 3, 8 - MGM; Photo 4 - Apple; Photo 5, 6, 9 - A24; Photo 7 - Neon; Photo 10 - La Pacte

THE GIRLFRIEND Starring: Robin Wright, Olivia Cooke, Laurie Davidson, Waleed Zuaiter, Tanya Moodie, Shalom Brune-Franklin, Karen Henthorn, and Anna Chancellor Creators: Naomi Sheldon and Gabbie Asher QUENTIN The Girlfriend comes so dangerously close to falling face-first into the campy trash bin that the modicum of restraint it does demonstrate results in a tease that makes the series even more entertaining. Don’t get me wrong, it definitely dips its toes in that bin, but you’ll be having too much fun with all the twistiness to notice. Particularly great is the story structure that shows both Cherry’s (Olivia Cooke) and Laura’s (Robin Wright) perspective of the same events, which gives both actresses the opportunity to create two vastly different personas that will keep your loyalties in question. Overall, a delightfully sinister snack of a series.

Previous Next February 22, 2025

Previous Next April 25, 2022 WRITTEN BY: QUENTIN It’s easy for one to look at Nic Cage’s eccentricities & spate of direct-to-VOD movies and not fully appreciate what the man has done over the course of his 40-year career. He has excelled as a rom-com lead, an action star, a horror hero, and a scene-stealing voice actor, all while boasting two Academy Award nominations (and one win) for his dramatic work. He is, quite possibly, the only actor that truly takes risks anymore, acting for genuine love of the craft more than anything else. Truth is, you never know what you’re going to get with a Cage performance. Will it be a gonzo tour-de-force or a meditative character study? Will you laugh, cheer, be moved, or be repulsed? Either way, you just know he is going to do something interesting with each and every role while giving nothing less than 100%. That intrigue, unpredictability, and commitment is what makes Nic Cage my favorite actor. Below, you’ll find a list of my favorite Cage movies. Please note that I said “favorite,” not “best.” The two words are not synonymous. While I respect that his performance in Leaving Las Vegas is sublime, it’s such a hard movie to watch. So, you won’t find it here. Same for Mandy . You also won’t find Into the Spider-verse because, despite him being arguably the highlight of that movie, I don’t consider it a Nic Cage movie as much as a movie that just happens to co-star Nic Cage. You won’t find The Unbearable Weight of Massive Talent either because I literally just watched it like an hour ago. I need to marinate on it. I don’t want to be influenced by recency bias, and only time will tell if it eventually moves its way up the list. Instead, what you will find are the Cage movies that speak to me the most. Be it nostalgia, a relatable character, or simply a high rewatchability quotient, these are the Cage films that give me the warm and fuzzies. Lastly, I’m writing the article, so I make the rules. Shut up if you don’t like it. With that, it’s not exactly Mai Tais and Yahtzee out here, but let’s do it! 10. KISS OF DEATH (1995) Without Cage, Kiss of Death would likely be a forgettable 90s movie, found in the bargain bin next to titles like Striking Distance and Sudden Death . However, Cage single-handedly wills the film into something more as Little Junior, an asthmatic thug who carries himself with more bravado than Denzel Washington in Training Day . Plus, it’s one of the rare times in which Cage is allowed to lean into pure villainy, which is a treat in itself. 9. JOE (2013) Joe ’s story is nothing new: a loner ex-con becomes a reluctant mentor to an abused teenager; However, Cage plays the titular character with both a simmering brutality and poetic stillness that adds immeasurable depth to the oft-told tale. His chemistry with Tye Sheridan makes for a powerful bond, and it’s interesting to see Cage play a character who is constantly trying to hold back his innermost impulses when we know that, as an actor, that’s not where he tends to operate. 8. LORD OF WAR (2005) Lord of War , which could genuinely function as a Tony Stark prequel (without the MCU shine, of course) takes a hard look at the global and personal consequences of illegal gun running. Cage strikes an uneasy balance as a charming yet morally corrupt monster, the kind of character you can’t help but like even as you know you shouldn’t. Few people can walk that tightrope, but Cage delivers in this sharp satire. 7. WILLY'S WONDERLAND (2021) Despite being a ripoff of the Five Nights at Freddy’s video game franchise and one of Cage’s direct-to-VOD efforts, Willy’s Wonderland is an absolute blast! It’s a simple story, a nameless janitor (Cage) battles murderous Chuck E. Cheese-style animatronics, but Cage absolutely owns the screen whether he’s kicking ass, chugging grape soda, or playing pinball. On top of that, he does it all without uttering a single word. The 80s vibe reeks of tongue-in-cheek cheesiness, but it definitely works for this hidden horror gem. 6. GONE IN SIXTY SECONDS (2000) Despite the critical drubbing it took in 2000, I’m not sure what more you could ask for in a Jerry Bruckheimer-produced action flick about stealing cars. It’s got humor, car chases, a stellar supporting ensemble (including three Oscar winners), and, frankly, it’s just a whole lot of fun. Add in all-time great Cage character name Memphis Raines and the Shelby GT500 known as “Eleanor,” and you’ve got a movie that always stops me in my tracks when flipping channels. 5. RAISING ARIZONA (1987) Despite having starred in several comedies, romantic and otherwise, people tend to forget how funny Cage can be. The Coen Brothers’ Raising Arizona is an absurdist screwball comedy that only works if you have a lead with excellent comedic timing, charm, and charisma, which Cage delivers in spades (not to mention the terrific mustache and muttonchops). Raising Arizona is a 35-year-old comedy classic that put both the Coens and Cage on the map. If you need any more convincing, director Edgar Wright called it his favorite movie of all time. 4. PIG (2021) In the five years preceding Pig ’s release, Cage starred in no fewer than 20 direct-to-VOD movies. Given that, I can understand why some people seemed to have forgotten what the man is capable of. In this film-that-was-definitely-snubbed-for-a-Best-Picture-Nomination, Cage zigs when most assume he will zag, playing the meditative, soulful, and non-violent yin to John Wick’s yang. It’s a brilliant character study on love and loss for which he was completely jobbed for his third Best Actor nomination. 3. NATIONAL TREASURE (2004) & NATIONAL TREASURE: BOOK OF SECRETS (2007) Playing out like Adult Goonies , National Treasure is a treasure hunt adventure that works for pretty much the entire family. While the historical aspects may be romanticized a bit, it’s a fun caper that probably birthed the Memefication of CageTM with one single quote: “I’m going to steal the Declaration of Independence.” It’s pure popcorn fun, but in all the best ways. Then they made a second one! 2. MATCHSTICK MEN (2003) In Matchstick Men , Cage plays a con man with OCD and Tourette’s. Can you honestly imagine a more interesting actor to play someone with Tourette’s? You can see the gonzo Nic Cage we all know and love just itching to break out through every twitchy tick. It’s like he combined the grounded approach of Leaving Las Vegas with the more eccentric choices he made in Vampire’s Kiss . With a twisty story that engages and a completely earned character arc for Cage’s Ray, Matchstick Men is one of Cage’s most overlooked movies. 1. THE YEAR OF CAGE: June 6, 1996 - July 27, 1997 Yeah, yeah, I know what you’re thinking: “You can’t just give us a random timeframe, Q.” I absolutely can. I make the rules, remember? Besides, how does one even choose between The Rock , Con Air , and Face/Off , all of which were released within (nearly) a one-year span? All three are iconic, late-90s action films, with each one producing memorable one-liners, unforgettable action scenes, generational nostalgia, colorful characters, and a string of memes that are popular 25 years later. It’s genuinely one of the best three-film-stretches for any action star, and Cage delivered it in under 14 months. That’s remarkable. I’ll be damned if I’m going to be forced into a Sophie’s Choice situation with this trinity. Photo Credits: Photo 1, 6 - 20th Century Studios; Photo 2 - Roadside Attractions; Photo 3 - Lionsgate; Photo 4 - Screen Media Films; Photo 5, 8, 10 - Disney; Photo 7 - Neon; Photo 9 - Warner Bros; Photo 10 - Paramount Pictures

DEXTER: RESURRECTION: SEASON ONE Starring: Michael C. Hall, Uma Thurman, Peter Dinklage, Jack Alcott, David Zayas, Ntare Guma Mbaho Mwine, Kadia Saraf, Dominic Fumusa, Emilia Suárez, and James Remar Creator: Clyde Phillips NICK Although I enjoyed New Blood , it was tonally different from the Dexter we've come to know. Resurrection , however, is a return to form, offering up one of the best seasons in the series and allowing Michael C. Hall to have fun again. This season continues to focus on Dexter's (Hall) relationship with Harrison (Jack Alcott), introduces a new type of antagonist, and brings a level of closure to the days of Miami Metro. It's a reinvigoration of the character (including the welcome return of James Remar's Harry) and one whose journey I’m excited to continue on with. QUENTIN Here’s the thing about Dexter : including New Blood (but not the pointless Original Sin ), Resurrection is the series’ tenth season, and in a vacuum, it’s one of the better seasons of the show’s run. In fact, with a few tweaks, this could have been the perfect way to end the show back in the day. However, the fact that Resurrection comes after two(!!) fake-out deaths of Dexter (Michael C. Hall), I can’t help but roll my eyes a little. There just aren’t any stakes anymore, which creates an intangible that prevents me from fully buying in again. It’s just… fool me once, you know? ROBERT The best seasons of Dexter don’t lean too heavily on either comedy or drab seriousness. The main issue of the last season, New Blood , was that it took itself too seriously. Fortunately, the entire brain trust that worked to make the show its most evolved form were involved in Resurrection . Therefore, some of the character choices for Dexter (Michael C. Hall) and Harrison (Jack Alcott) were reconfigured, and the heartbeat of the season, their relationship, was enhanced in a way that never feels incongruous with what came before. Despite a disappointing finish, Resurrection reintroduces viewers to OG Dexter: a sight for bloodshot eyes.

Previous Next September 29, 2023 WRITTEN BY: NICK This year, I had the honour of covering my second consecutive Toronto International Film Festival. As a Toronto local, TIFF has always been a favourite event of mine, thanks to its quality and variety of films, as well as its focus on the fan experience. I haven’t covered many film festivals in person, but this one sets a very high bar to beat. With the SAG-AFTRA strike taking place (keep up the good fight!), the celebrity involvement this year was limited, which made for some quieter Q&A sessions and muted red carpets. It may have even had an effect on the final slate of films. That said, there was still a lot of quality on hand, even if some genres were lacking (I'm looking at you, horror). So, what did I think of the 38 films I had the chance to check out this year? Well, let me tell you... Also, in case you missed it, check out how Adriano ranked the 49 movies he saw at the festival HERE . 38. THEY SHOT THE PIANO PLAYER The idea of an animated documentary is an interesting one, but the execution of They Shot the Piano Player left me wanting. What begins as a mystery about the disappearance of Francisco Tenório Júnior, soon devolves into a repetitive cavalcade of interviews with everyone saying a lot of the same thing. The interviews in question are conducted in both Portuguese and Spanish, but it’s the dulcet tones of Jeff Goldblum's English narration that nearly lulled me to sleep. The novelty of the animation also wears away quickly due to its appearance. Perhaps a motion comic without speech animation would’ve better served the subject matter. 37. WILDCAT To make a good biopic, you need to leave the audience caring about the focal point of the film. Sadly, Wildcat did nothing to make me care about Flannery O’Connor (Maya Hawke). Although this is a subject both Hawkes (Ethan and Maya) are passionate about, that passion never translates to the screen. Instead, we have a film bogged down by religious undertones (and overtones) that ramble on in aggressive southern accents without saying anything particularly concise. The Hawkes are both clearly committed in their roles, but aside from a surprise cameo, they fail to turn that into an entertaining watch. 36. POOLMAN I don’t entirely know what director Chris Pine was going for with Poolman , but he misses the mark. Perhaps this throwback love letter to Los Angeles is too niche, but I think it’s just too quirky for its own good. It features lackluster writing, failed attempts at humour, and a notable supporting cast who don’t add anything worthwhile. On screen, Pine is committed to the lead role, but even his charm wears thin quickly. Although this will likely flop, Pine will still get another shot behind the camera, except now it’ll come with the lowest of expectations. 35. SORRY/NOT SORRY There’s a clip in Sorry/Not Sorry of Jon Stewart on The Howard Stern Show contemplating what he would have done had he known about Louie C.K.’s actions. This clip highlights the two biggest flaws of this documentary. First, the archival footage used is far more interesting and insightful than anything new. Second, it spotlights the most interesting angle from which to tackle this story, which the film fails to use. Instead, it uses clips from notable right-wing personalities to almost force-feed an opinion down your throat. If you want to see this subject matter handled properly, I suggest you watch We Need to Talk About Cosby . 34. MOTHER COUCH I’m not entirely sure what to say about Mother Couch . The story begins with a quirky…family problem… that three siblings are tasked with handling. Ewan McGregor (who continues to play befuddled really well) is the focus of the story, but both Ellen Burstyn and Taylor Russell are the highlights. The story is almost dream-like in its execution, and it certainly isn’t afraid to take risks, even if most don’t pay off. The problem is that once the intentions finally become clear as it reaches its more fantastical finale, it had already lost my interest. 33. FINESTKIND What did I just watch? Finestkind begins as a fairly straightforward story about brotherhood and fishing boats that seems to be building into an indie-feeling family drama, anchored by strong performances from Ben Foster and Toby Wallace. Then, about halfway through, it evolves into… some attempt at a crime thriller, with the tone making a complete 180. Perhaps the second half would have worked if it started that way, and I think there is a chance the first half would have worked had it stayed on track; however, put it together, and all you have is a mess. 32. ORIGIN The story of Origin is one of importance, but it’s hidden inside a very tedious film. Director Ava DuVernay brings us something that feels more like a college lecture than a concise and interesting narrative. This has nothing to do with the performances, but in the way the subject matter is approached in such a dry manner. It truly felt like I was watching The History Channel at times, and although I sympathize with the trauma Isabel Wilkinson (Aunjanue Ellis-Taylor) faced, everything surrounding her is lethargic. Wilkinson writes “a world without caste would set everyone free;” a lasting message that deserved a better film. 31. PAIN HUSTLERS I find difficulty in enjoying movies where all the characters are despicable people doing despicable things, which is exactly what Pain Hustlers is. There is just no one to root for, so I was left watching things unfold, quietly waiting for everyone to get their comeuppance. It doesn’t take the opioid crisis very seriously, which would be fine had it leaned further into the comedy, but it approaches things too straight-faced (same issue as Dumb Money ). This made it all feel… cruel. That said, there likely will be an audience for this B-movie version of The Wolf of Wall Street , but I’m not it. 30. KNOX GOES AWAY Although Michael Keaton gives a good performance in Knox Goes Away , he tends to get in his own way as the director. It’s not so much the writing of the film that’s the issue, but the odd stylistic choices Keaton makes. The portrayal of dementia feels more like John Knox (Keaton) is on a hallucinogen, while the dark and shadowy colour palette clashes with the tone. Also, for a film about a man running out of time, there is a surprising lack of urgency. Things do pick up in the final act, but it's sadly too late to salvage the film. 29. LEE There’s no doubt that Kate Winslet gives a spectacular and awards-worthy performance as Lee Miller; however, the film that features her, Lee , has its share of challenges. The approach taken in recounting her story feels like a cheap way to bypass plot points and make up for the lack of a cohesive narrative. Had the moments it focused on been more riveting, perhaps that could be overlooked, but the pacing is actually fairly slow. It is evident Lee Miller was an accomplished and nuanced photographer, so it’s very frustrating to see that a film about her work lacks artistic creativity. 28. DUMB MONEY If you're going to tackle a true story as recent as the events of Dumb Money , you better bring something new or innovative to the table. Not only does director Craig Gillespie not do that, but he focuses on the most surface level aspects of the events that unfolded. However, the biggest sin is in how seriously the subject matter is handled. The movement that brought us "stonks," "gay bears," and "tendies" shies away from its absurdity (save for some memes and TikToks flashed on screen), while Pete Davidson provides the only real comic relief. This one could’ve been fun, but instead it’s kind of forgettable. 27. FINGERNAILS Not every story about love needs to be a love story, and that’s something Fingernails director Christos Nikou looks to explore. The notion of sacrificing one’s fingernail just to learn if one’s love is true is a great commentary on our need for reassurance and reliance on “the one.” Unfortunately, Nikou focuses on this with everyone except Anna (Jessie Buckley) and Ryan (Jeremy Allen White), the film’s lead relationship. The focus on these two is lacklustre, and you’re never really given a chance to invest in them, which dampens the introduction of Amir (Riz Ahmed), and in turn, his entire storyline. 26. NEXT GOAL WINS As someone who loves Jojo Rabbit (also directed by Taika Waititi) and also played soccer for 20+ years, it felt like Next Goal Wins was made for me to love it. Turns out, this wasn’t the case. The childlike humour mostly misses the mark, and Waititi’s treatment of the transgendered Jaiyah Saelua (Kaimana) is mishandled. On top of that, this is a sports film that failed the main objective of the genre: get me invested in the team. I just couldn’t get myself to care. Admittedly, the bar is higher coming from Waititi - it’s not a complete lost cause - but this can only be seen as a disappointment. 25. HATE TO LOVE: NICKELBACK Hate to Love: Nickelback is promoted as a study on how the group became the most hated band in the world and the effect that has had on its members. In actuality, that’s really only a segment of this documentary. It’s more the story of the band overall: their origins, the moment they hit it big, the lows (both personally and professionally), and where they are now. That said, it is very well shot, and as far as music documentaries go, it does its job. I just wish they dissected the fan reaction with more depth. 24. THE DEAD DON’T HURT With his sophomore directorial effort, Viggo Mortensen shows a lot of growth in the way he crafts a film, particularly in how he takes full advantage of the landscapes the film inhabits to create a beautiful western. Where the issues start is in telling the story through a non-linear timeline, a decision that makes things unnecessarily confusing without benefiting the film. It’s also a little sleepy, as it’s not very event filled. At times, it feels like you’re in between missions while playing Red Dead Redemption . The Dead Don’t Hurt is certainly an improvement for Mortensen in the director’s chair, but there’s still some ways to go. 23. SEAGRASS Seagrass is a grounded story. One of marital strife, racial differences growing up, and knowing who you are both personally and culturally. It’s told against the backdrop of the Pacific Coast, which enhances the film’s beauty (though director Meredith Hama-Brown’s reliance on extended scenic shots can feel a little laborious), and it features deliberate performances from its leads, Alli Maki and Luke Roberts. Although it may not always be the most interesting thing, Hama-Brown opts for honest performances over big emotional outbursts, which makes the cast’s heightened emotions feel more powerful, including a hell of a closing shot. 22. MEMORY I don’t want to take anything away from Memory. It’s a well-crafted film that features some heartfelt performances from Jessica Chastain and Peter Sarsgaard. It just doesn’t feel… special. There are times when director Michel Franco presents a devastating idea, but then be seemingly gun-shy of tackling it. There’s a few of these missed opportunities in the film, so what we’re left with is a well-acted story that doesn’t feel wholly unique. The great performances of Chastain and Sarsgaard do almost all the heavy lifting, which is necessary because this story would certainly be lacking without them. 21. STRANGE WAY OF LIFE At only 31 minutes, Strange Way of Life feels like the prologue to a longer story. Both Ethan Hawke and Pedro Pascal provide instantly interesting characters, but they’re never given the chance at deep exploration. Their passion is often relegated to longing looks and helpless pleas that feel like they’re bubbling towards the climax of a full-length feature film that never comes. Although the story may fall short, Pedro Almodóvar’s direction suits the Western genre wonderfully, and he handles this queer love story with care. Considering the cast and scope, I understand why this was made as a short film, but it’s an incomplete tale. 20. REPTILE Reptile is at its strongest when focused on Benicio Del Toro’s Tom Nichols. Whether he’s being a hard-nosed cop or embracing his inner shopaholic, he commands the screen. Where the film falters, however, is in some of the more unnecessary directorial choices (extreme close-ups, jarringly loud effects) and its slow build. This could have worked if the story was supplying something new, but that’s not the case. You’ll find the same clichés that you find in every other cop drama throughout its relatively generic script. Luckily, Del Toro is able to elevate the words on the page to push things to above average. 19. THE END WE START FROM The End We Start From has a lot to say about climate change, survival, and motherhood, and it gives a view into the world our children may be inheriting if we don’t smarten up. However, it moves quite slowly. Jodie Comer gives a solid performance as a young mother with a newborn trying to navigate this borderline apocalyptic world, and it’s nice to see Joel Fry in a non-comedic role; I just wish more happened. First time director Mahalia Belo does, however, show some promise behind the camera thanks to some deliberate directorial decision-making. 18. THE ROYAL HOTEL The Royal Hotel succeeds mainly due to its commentary on toxic masculinity and predatory culture. This is enhanced by the way director Kitty Green contrasts the present and assumed fears women deal with in male-dominated environments with the consequences (or lack thereof) many men face for their actions. Green particularly excels in showing the varying “levels of evil” of the men Julia Garner's Hanna and Jessica Henwick's Liv cross paths with on their journey. The Royal Hotel may not be the most exhilarating film, but it has a lot to say which deserves to be heard. 17. FAIR PLAY At the start, Fair Play is an erotic thriller that is neither erotic nor thrilling. As it goes through the motions in its early going, I settled in for what I assumed would be a standard workplace-relationship power struggle, akin to a spur-of-the-moment Blockbuster rental. Then, everything changes. The story evolves into something with more teeth, and the highly praised Alden Ehrenreich performance I’d heard about kicks into gear. I wish it had gotten there sooner, but Fair Play pays off with heaps of tension and great lead showings, particularly from the underrated Ehrenreich. 16. SLY Much like Netflix’s Arnold earlier this year, Sly plays it too safe. Its strength is in discussing everything that went into the Rocky franchise from the mouth of Sylvester Stallone himself, and it’s evident how much thought and care has been put into the iconic character. Beyond that, it’s a little unremarkable. It zooms past his non-franchise film career, and it never dives into his hardships with any depth. I understand that Stallone tries to maintain a level of optimism and was likely very hands-on with this project, but I don’t feel like I know the man any more than I did going in. 15. WICKED LITTLE LETTERS Wicked Little Letters is one cheeky little fucker of a film. The surprisingly funny and crass affair is headlined by the devilishly good Olivia Colman and Jessie Buckley at their most raunchy. Colman, in particular, shines, with even just her facial expressions bringing on the laughter. The mystery may show its cards a little early in the film, but that can be forgiven as the “who” never feels like the point. Instead, just go for the ride of this sure-to-be crowd-pleaser. I’m not saying you need to see Wicked Little Letters , but some may think you’re a bloody wanker if you don’t. 14. HEY, VIKTOR! Instead of working as a full The Office -style mockumentary (which is a little played out), Hey, Viktor! thankfully sprinkles in the testimonial interviews. This both helps the film overall and enhances the mockumentary moments. Also, it’s really funny. The concept is dumb: a bit player from the 1998 cult classic Smoke Signals attempts to make a modern-day sequel revolving around his character, but it has charm and many quality jokes. It’s also a deserved spotlight on both indigenous film and indigenous actors, especially Cody Lightning, who shows solid comedic ability. Hopefully, this leads to future roles for him. 13. GONZO GIRL Patricia Arquette’s directorial debut feels like Almost Famous by way of Once Upon a Time in… Hollywood . This drug-fueled barrage examines a Hunter S. Thompson-type (played masterfully by Willem Dafoe) in his later life through the eyes of his assistant (Camila Morrone, who more than holds her own). It’s a two-pronged character study that’s one part comedy, one part drama, and one part tragedy, succeeding at all three. Gonzo Girl is a great example of how quality filmmaking can still be done on a small budget, and it’s a very promising first foray behind the lens for Arquette. 12. HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON Humanist Vampire Seeking Consenting Suicidal Person is a new take on a vampire subgenre that is difficult to tackle. This independent feature out of Québec has the gothic whimsy of The Addams Family , plus a ton of heart behind its premise. Sara Montpetit as Sasha gives an engaging performance, particularly excelling in her expression work, maintaining engagement without dialogue. Together, her and Félix-Antoine Bénard (Paul) make for an entertainingly quirky duo. This may not be on a lot of people’s radars, but hopefully, once some good word-of-mouth comes out from the festival circuit, it will rightly be seen by more. 11. DREAM SCENARIO Whatever you want to call this phase of Nicolas Cage’s career, it is by far the most interesting. With films like Mandy , Pig , The Unbearable Weight of Massive Talent , and Renfield , he's been running the genre gamut. His latest, Dream Scenario , is a surreal comedy where everyone constantly dreams about Cage's Paul Matthews. As the phenomenon goes on, Cage is able to carry both the humour and horror elements, but the gag can become a little repetitive. As much as I enjoyed the film, there’s been a nagging “what if?” for alternate directions to take things, a thought that haunts me whenever I close my eyes. 10. RUSTIN Honestly, there’s nothing overly unique about Rustin , save for the performance of Colman Domingo. But Domingo is excellent as he brings a sense of optimism and humanity to Bayard Rustin, a man I admittedly didn’t know much about. Unlike prior civil rights films, this one doesn’t focus on the turmoil. Rustin was a pacifist, so it was only fitting to give him a film with such a positive gaze on the events. There are a couple cliché moments, and some of the casting is a little suspect (Chris Rock feels out of place), but Rustin succeeds in bringing eyes to the story of this influential man. 9. WOMAN OF THE HOUR There’s a lot that works great about Woman of the Hour . Much like Patricia Arquette’s directorial debut, Gonzo Girl , Anna Kendrick shows great sensibilities behind the camera as she covers renown murderer Rodney Alcala’s appearance on The Dating Game , but with the focus placed on his victims. The only hiccup is the performance of Daniel Zovatto as Alcala. Not only is he lacking the necessary charm, but he fails to feel truly menacing in the tense moments. Don’t get me wrong, this is still a very solid feature, but I would have liked to see where someone else would have taken things with the role. 8. THE BURIAL I’ve always been a sucker for a courtroom dramedy, so The Burial certainly had my interest. Plus, after Jamie Foxx’s resurgent turn in They Cloned Tyrone , I was curious to see if he was back -back. Oh, he’s BACK. Foxx is electrifying every second he’s on screen, which is only enhanced by the quiet demeanor of Tommy Lee Jones. Together, the pair had me fully invested in their case as it went through ups and downs. Yes, it’s a little formulaic, but that’s forgivable when bolstered by good performances and solid storytelling, which is exactly what The Burial supplies. 7. RIDDLE OF FIRE Shot on gorgeous 35mm film, Riddle of Fire has a vintage look to it that really enhances the picture. A modern day fairy-tale, this is an exploration of a child’s imagination and that time in our lives where anything could become an adventure. The humour is on point – Skyler Peters (Jodie), in particular, embraces his Kids Say the Darndest Things vibe – and it’s easy to get swept into the children’s mischievous ways. Riddle of Fire is bound to fly under the radar, but it makes for a fun watch and harkens back to 80s films like The NeverEnding Story . It’s just a good time. 6. FLORA AND SON Headlined by the underrated Eve Hewson, Flora and Son mixes a dysfunctional family drama with a modern-day love story. Hewson's Flora works well with all characters, but none as strongly as Joseph Gordon-Levitt's Jeff. This is thanks to director John Carney coming up with creative ways to make sure we aren’t just staring at a laptop screen for half the runtime, as well as the perfect casting of Gordon-Levitt. It’s just such a pleasant surprise, and as unlikely as it may be, I’d genuinely be interested in seeing the continuation of this story. 5. SEVEN VEILS As a last-minute addition to my TIFF schedule this year, I was not expecting Seven Veils to floor me like it did. The way director Atom Egoyan explores trauma by using parallels between life and the remounting of Salome is sensational, and it’s all held together by a fantastic performance from Amanda Seyfried. Egoyan takes you through the inner workings of the opera, with a focus on everything from the cast to the props designer, and manages to make it all gripping in what must be viewed as his career highlight. A true triumph across the board. 4. HIT MAN Who knew director Richard Linklater could be so sexy? What he’s crafted with Hit Man is an edgy rom-com that features dynamite chemistry between stars Glen Powell and Adria Arjona, both of whom made every one of their scenes together bubble with an underlying eroticism. The performance of Powell, in particular, impresses as the role requires some serious range. If there was any question after Top Gun: Maverick and Devotion as to whether Powell could be a star, that’s silenced here instantly. This is Linklater at the top of his game, presenting something that will not only appeal to his fanbase, but reach beyond that. 3. SING SING Colman Domingo's transition from television to the big screen is happening at a rapid pace, and it feels like he’s only going to get bigger thanks to his dynamic lead performance in Sing Sing (as well as Rustin ). This is a heartwarming story that truly surprised me. I’m notably stingy on non-actors getting feature roles, but that doesn’t apply here because these real-life graduates from the RTA program ARE actors, as their real-world performances show. Though it’s set in a prison, Sing Sing doesn’t need to rely on violence to work. Instead, it’s a beautiful story of brotherhood and camaraderie amongst common men. 2. MR. DRESSUP: THE MAGIC OF MAKE-BELIEVE As with many Canadians, I grew up watching Mr. Dressup . He was our Mister Rogers, which is fitting as he began as Fred Rogers’ protégé. That is one of many things I learned about Ernie Coombs in this documentary. Told through numerous interviews with a Canadian Who’s Who, this walk down memory lane features the highs and lows of Coombs’s life, as well as exploring a little children’s show that became a juggernaut by amassing 4000 episodes. This terrific documentary makes for the perfect companion piece to Won’t You Be My Neighbor? , a spotlight put on another man who helped shape many generations. Have tissues nearby. 1. AMERICAN FICTION Talk about making your debut with an exclamation point! American Fiction is a brilliantly written satire about the way the Black experience is viewed and desired in mainstream (read: white) media. Writer/director Cord Jefferson has crafted a smart and hilarious film around Jeffrey Wright, who instantly makes you question why he doesn’t lead more projects. Jefferson said one of his goals with this film was to amplify underused actors, and he takes full advantage of the likes of Sterling K. Brown, Erika Alexander, and the rest of this talented supporting cast. I can’t wait for others to get to see this one. Photo Credits: Toronto International Film Festival

Previous June 10, 2025 Next A BITESIZE CHAT WITH SEAN LEGACY Sean Legacy is quickly rising up the ranks of professional wrestling, be it the WWE ID program, WWE Evolve , or most recently, WWE NXT . Quentin is here to chat with him about his journey and what comes next for this soon-to-be WWE Superstar. Make sure to check out Sean on WWE Evolve and WWE NXT . Interview conducted on June 5th, 2025 by Quentin Lester.

GODFATHER OF HARLEM: SEASON FOUR Starring: Forest Whitaker, Ilfenesh Hadera, Lucy Fry, Antoinette Crowe-Legacy, Erik LaRay Harvey, Elvis Nolasco, Michael Raymond-James, Rome Flynn, Michael Benjamin Washington, and Devin Kessler Creators: Chris Brancato and Paul Eckstein QUENTIN In its fourth season, something about Godfather of Harlem feels like the passion is gone. At this point, we’re getting repetitive storylines about Bumpy (Forest Whitaker) trying to rebuild Harlem for the black community, his battle with the Italians, the drug game, racial tensions, and Stella (Lucy Fry) trying to assert herself with the Five Families. Also, Whitaker seems to be over playing this character, emanating a palpable lack of interest with his performance. The additions of historical figures like Frank Lucas (Rome Flynn), James Baldwin (Michael Benjamin Washington), and Afeni Shakur (Devin Kessler) add some new blood, but it might be too little too late. Check out our reviews for Season Three HERE .

SUPACELL: SEASON ONE Starring: Tosin Cole, Adelayo Adedayo, Nadine Mills, Eric Kofi Abrefa, Calvin Demba, Josh Tedeku, Rayxia Ojo, Ghetts, and Eddie Marsan Creator: Rapman QUENTIN Nowadays, it’s really hard to do something truly fresh and exciting with the superhero genre, especially with completely new characters not based on known IP. However, even if Supacell never feels completely original, being reminiscent of Heroes , Attack the Block , The Umbrella Academy , and (British) Boyz n the Hood , it adds enough interesting wrinkles to the overplayed genre to stand on its own. I do wish the pacing had been a bit better because it’s a tad slow to get going, but now that the strong character work and world-building are out of the way, I’m fairly stoked to see where Season Two goes.